Top 1200 Popular Movie Quotes & Sayings - Page 13

In the movie 'Wall Street' I play Gordon Gekko, a greedy corporate executive who cheated to profit while innocent investors lost their savings. The movie was fiction, but the problem is real.

'Rocky' is a movie that just happens to be about boxing. It's really about characters and story lines and relationships and all those things, and the backdrop is boxing. You can go back and watch the final fight in 'Rocky' a thousand times. If you dig that movie, if you like the characters, you'll watch the whole movie over and over.

"Admission" is Paul Weitz's movie. This is Karen Croner - the screenwriter's - movie. To have such a lovely role in such a beautifully written script offered to me, it's like elves made the shoes.

In a daydream sort of way, I think it would be pretty cool to direct a movie. But I have been on movie and TV sets and know it is hard work. I like directing it in my mind. It is easier.

I found a movie called “Light in the Piazza.” I finally made the movie with Olivia de Havilland and myself, but initially there was no way I could make that movie, so I went to work on becoming that character. They told me they had an Italian [actor], and I said, “That’s a Cuban boy!” His name was Tomas Milan. I thought that’s the craziest thing I’d ever heard: They have a Cuban who’s going to play an Italian, and I can’t play it because I’m an American.

I read James Joyce's short story 'The Dead,' and I love that movie for many reasons. It was the last film I made with my father, and it's emotional for me as well as a movie I'm proud of.

A movie of mine is going to be released in Japan next year. I play a waitress who's a really regular girl in this movie. The English title isn't decided yet, but in Japanese it's I'll Get on the A Train Sometime.

I pretty much lived movie to movie in my younger years because I loved spending money, and I didn't really have a concept of 'assets,' but as I got a little older, I bought art.

I was going to direct the movie 'Training Day', and I got fired. Denzel Washington didn't want me to direct the movie.

I don't normally get very star struck. However, I was just at a table read for a movie. It was an animated movie where they have all the actors come in and sit around a big table and read the whole script out loud so you can see what's working, what's not working. And this is an animated movie that Paul McCartney is doing and he's producing it. So I got to meet Paul McCartney.

When you shoot an independent movie you have a very limited amount of time, and you don't want to be that actor, when a poor director is trying to get through a movie, that you're asking at every second to discuss performance.

Big hooks have always been a part of American movie-making. So, to make a movie where you're just driving story through the characters without a high-concept is a challenge.

I knew I had to get out of Boston and stop making movies there, at least for one movie, otherwise no one would ever consider me for a movie that took place south of Providence.

I like to try to do anything active when I'm not on a movie. When I'm shooting a movie, it's really hard for me to do anything besides work.

I don't think that Slaughterhouse-Five was successful movie material. In fact, Vonnegut's books mostly I don't feel are movie material.

I feel like at the end of your days, the last thing that's going to happen is that you're going to watch the movie of your life. It's very important to make sure that you love your movie and that you want to watch your movie, so I try to always make sure that I'm doing something fun and interesting.

I first saw Dead Man in high school, and it changed everything. That movie was like a memory to me - I would get things that occurred in that movie confused with my actual life.

I do not recall another period when ‘faith’ was as popular as it is today. ‘If only we believe hard enough we'll make it somehow.’ So goes the popular chant. What you believe is not important. Only believe... What is overlooked in all this is that faith is good only when it engages truth; when it is made to rest upon falsehood it can and often does lead to eternal tragedy. For it is not enough that we believe; we must believe the right thing about the right One.

I think the most emotional part in making the movie and discovering the movie - because it was a process of discovering - is all the scenes with the family.

When I was younger I saw a movie called 'Butch Cassidy and the Sundance Kid' with Paul Newman and Robert Redford. Those two actors and that movie was my inspiration to want to be an actor.

I fall asleep to a movie every night! I don't have a go-to movie, but I like Netflix or whatever I can find. Usually, it's just noise in the background; I think it's damage from living in New York, where it's so noisy.

Michael Caine is a movie star, but he's also a great actor. I can't say that about every movie star. It's the concentration he has.

There was another Judy Garland movie on TV, and it wasn't 'The Wizard of Oz,' and I was so confused. I was like, 'Wait a second, what is Dorothy doing in this movie?' And that's when I became fascinated. I didn't realize there were actors.

On the Internet, all those same guys that are complaining I made a change are completely changing the movie. I’m saying: ‘Fine. But my movie, with my name on it, that says I did it, needs to be the way I want it.’

From my own internal fanboy perspective, there's nothing that I hate more than seeing a three minute trailer for a movie where I feel like it's shown me the entire movie.

My advice to any actor who's playing, quote, unquote, "extra" to think of it more like Stanislavski did. It's not a small part. You are the lead in the movie, in your own movie.

I've had tragedy in my life, and it doesn't stop comedy, so I think it's important to do both. Particularly in a superhero movie, but in any movie that accesses all people. Nobody wants to be abused for two hours.

I understand why Vladimir Putin is very popular in Russia - he's probably the first Russian leader to not apologize for being Russian. People always pin it down to one man, but there's hundreds of millions of Russians of various sorts. Putin does seem to be very popular in Russia, if only because he stands up for Russians wherever they are, which is exactly what Americans do with Americans, of course.

The Freebie cost virtually nothing. We funded the movie ourselves, people got paid, but were mostly paid in the back end, we used one of the cheaper cameras we could get. The movies have a look to them, you can sorta point out the really low-budget movie. So even if the heart of the movie and the story are really, really great, they always sorta feel a little cheap.

The unique idea of [The Darkest Time] movie is because in usual if you are in darkness, you are scared. But this movie is the opposite. In darkness, you are okay.

There are people I'm drawn to that you just can't do a tiny, no-budget movie with. I would like to pursue some of that stuff, to see if I could do a movie with some of those people. And I don't really write scripts myself, but if I read a script I thought was really great, I would totally be up for doing a more traditional movie. It's just that I don't exist in that world. right now.

Remember that what's right isn't always popular, and what's popular isn't always right.

Christian audience, I think, have grown very tired of movies that try to pander to them. For instance if someone goes, "Ok, we're designing what we're going to do with this movie. It's a Christian movie and they'll eat it up." And you know what? Consumers are smarter than that. They go, "The movie isn't that great and he thought that I would just be a sucker and plop my $10 down for it?" Because you're looking down at the audience. You can't pander to an audience.

The only way major change in environmental policy is going to happen, the only way, is if there is a very strong, very active popular movement that demands it and such a movement would be unparalleled because it would be a popular movement that says, "Raise our taxes so that we change our behavior."

Just as not all popular albums are wonderful, not all wonderful albums are popular.

Sometimes I test myself saying, 'If I get a death sentence if I don't make this movie, would I still make this movie?'

3D really altered the way I shot the movie completely, and it was exciting because, after 20 years of filmmaking, I felt like I was making my first movie, all over again.

I think our movie, 'Now You See Me,' is an emotional movie rooted in smart and wits and fully amazing actors working perfectly together. It's like a supergroup of musicians.

Every movie, I find myself adrift at the beginning of the movie, and then I find my way through the dark forest.

I had not grown up on theater - in Hughes, Ark., you went to see a movie on Saturday. So my acting heroes were movie stars. It was a natural thing for me to want to get into the movies.

Writing for television is completely different from movie scriptwriting. A movie is all about the director's vision, but television is a writer's medium.

A lot of things and a lot of money is involved in a movie. It is very upsetting when a movie doesn't fare well at the box-office.

'The Graduate' must be the best use of songs ever in a movie; it adds a layer to the movie you wouldn't ever get from a score.

I think of Terrence Malick's movie Days of Heaven - one of Richard Gere's first movies - you can push pause on almost any image in the movie and it looks like a painting.

The theatrical marketplace is a challenge. What do you have to do to get someone to purchase a movie ticket to your movie? You have to do something that they've never seen before; you've got to enthrall them in a new way.

When I did 'The Passion,' nobody believed in the movie. Everybody was telling me, 'You shouldn't do this movie... But I wanted to play Mary Magdalene. I thought that I could do something strong and deep with this character.

Looking for happiness in the body, mind or world is like looking for the screen in a movie. The screen doesn't appear in the movie, and yet, at the same time, all that is seen in the movie is the screen. In the same way that the screen 'hides' in plain view, so happiness 'hides' in all experience.

I'm not a big fan of violent movies, it's not something I like to watch. And it's not my aim or goal to make a violent movie. My characters are very important, so when I'm trying to depict a certain character in my movie, if my character is violent, it will be expressed that way in the film. You cannot really deny what a character is about. To repeat, my movie end up becoming violent, but I don't start with the intent of making violent movies.

Everybody wants to be a movie star. I bet if you ask that guy would he like to be a movie star, he'd say, 'Sure.'

I can go to a movie theater and watch a movie I was in with an audience... but with television, the opportunity to meet the fans at Comic Con or any other situation, it's a chance to enter that circle; it's that sharing.

If I can make a dance-based movie like 'ABCD', then I was sure I could make a superhero movie, too.

When you're watching a Hitchcock movie, you, for most of the movie, are playing the guessing game. What's the endgame? What's the plot? How are these people involved? It's the best way to tell the story, and as a viewer, that's what you want to experience.

There's something that's very human about 'Warriorv that brings you out. You're watching the movie and, yeah, there's fighting - there's a tournament at the end of the movie - but it takes a long time to get to know these people.

We were lucky to get Sam Jackson and Jeremy Irons and John McTiernan back. Long movie and hard movie to make and difficult for me because instead of working, my biggest concern was not repeating things I had done it in the previous films. And it rang notes in my head of episodic TV. A sequel is not a new movie; it's a chapter in a movie that you have already seen. Thank god Sam was there and thank god Jeremy was there. Again, it went outside the template of that series of films but it did well and made a ton of dough and the third chapter of a lot of sequels is always the one that falls down.

If my life is a movie - in the movie, there's always the bad part. There's also the parts where you're down and out, and there are parts where everything's amazing.

I get a lot of dramas, but I'd like to do a romantic comedy type of movie; that'd be a nice step for me. No more screaming or running or shooting... for one movie where I can just be in love with a boy.

A movie like 'Sugar' you couldn't make today. The climate for making movies with no movie stars, half of it in Spanish, at the budget level that we had is gone. These are high-risk elements.

I’m prepared to take risks. And every movie that I do is a risk. No one knows what the movie is going out turn out like.

Starting my carrer, I had three rules. I called a press conference and said: you can't kill me in a movie; I win all my fights in a movie; I get the girl at the end of the movie if I want her. They weren't about to hear that, and I knew that I would have to do that myself, but I set the public up and set the press up letting them know what I was going to do: continuing to sell the brand and image that I had.

I'm prepared to take risks. And every movie that I do is a risk. No one knows what the movie is going out turn out like.