Top 1200 Road Movie Quotes & Sayings - Page 16

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.

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.

When you're on the road, it gets a bit crazy. I've been on the road for about two weeks, and squeezed about 11 shows into 14 days. It's funny, traveling cross country isn't what kills ya - it's driving the two hours to the one-nighters and back. That's what gets exhausting, it gets to the point where seeing your kids is the relief.

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.

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.

The last Christmas movie I really liked was 'It's a Wonderful Life,' probably. It's sort of a schmaltzy movie, but it's not without its dark moments. It still gets to me every year.

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.

Isn't that someone we know?" asked Horace. He pointed to where a cloaked figure sat by the side of the road a few hundred meters away, arms wrapped around his knees. Close by him, a small shaggy horse cropped the grass growing at the edge of the drainage ditch that ran beside the road. "So it is," Halt replied. "And he seems to have brought Will with him.

The long and winding road that leads to your door / Will never disappear, / I've seen that road before it always leads me here, / Leads me to your door.

Once upon a time and a very good time it was there was a moocow coming down along the road and this moocow that was coming down along the road met a nicens little boy named baby tuckoo

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.

Kanan is a big road through the Santa Monica Mountains. Between mid-March and mid-April, when you get over to the western side of the mountains, it's populated by Spanish broom - this beautiful, yellow, flowering weed that smells the way I imagine it smells along the Yellow Brick Road.

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.

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.

Some guys are on the road and can't wait to get home; others are at home and can't wait to get on the road. I'm definitely the one who wants to be home.

When you make albums like I do, and it's based off fanfare and based off touring - I make these albums, and I get on the road. It's not really a radio-driven thing. I get on the road, and I see my fans, and I touch each and every last one of them.

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.

'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.

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.

Everyone goes down a road that they're not supposed to go down. You can do two things from it. You can keep going down that road and go to a dark place. Or you can turn and go up the hill and go to the top - try to go to the top.

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.

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.

I had success as an actor relatively early. When I was 22, I got nominated for an Academy Award for The Last Picture Show, so that road, you know, had the least resistance. I was doing my music all that time, but it's pretty hard to turn down these great movie offers. And my father counseled me; he said, "You know, one of the wonderful things about acting is that you can incorporate all of your interests into the different parts you play." I'm glad I listened to the old man, because that's the way it turned out.

You never know how stylish a movie is going to be and I think this movie has a great sense of style. The way that it is shot and our costumes and everything, it was just terrific.

When I started on 'The West Wing,' that was at a time when this was still a stigma, because movie stars didn't do TV. Now, every movie star is desperate to find their 'True Detective.'

But we all have experiences of having a truly good time after watching a movie that is not thought-provoking, don't we? I do too and I've been wishing to do that kind of movie. I think 'Collectors' is exactly that.

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.

He used often to say there was only one Road; that it was like a great river: its springs were at every doorstep, and every path was its tributary. 'It's a dangerous business, Frodo, going out of your door,' he used to say. 'You step into the Road, and if you don't keep your feet, there is no knowing where you might be swept off to.

When you're a Republican Latino, you're traveling uphill on a lonely road. Still, it's the road I prefer. It has led me to opportunity far beyond my dreams. I've worked on eight Republican presidential races, as well as for some of the world's largest corporations, all because the doors of opportunity, not the doors of welfare, were open to me.

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.

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.

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.

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.

"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.

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.

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'm very honored to play one of the women in the movie Volver, and it was special acting with all those other talented actresses. Carmen Maura is a legend and it was a thrill to make a movie with her.

Red Hook Road made me happy, and happy to be alive. It took me out of my home on the coast of South Carolina, placed me in the town along Red hook Road, and changed me the way good books always do.

Then, you also have that, we all have that sense of wanting to belong. We all have that road-rage, you can relate to that road-rage because you're so frustrated. The sense of frustration, the sense of getting caught, doing something wrong, all those are sort of universal emotions and you just have to make it specific to yourself and you channel this, I don't know what it is, but this inner self and then try to capture the vulnerability.

It's music rage, which is like road rage, only more righteous. When you get road rage, a tiny part of you knows you're being a jerk, but when you get music rage, you're carrying out the will of God, and God wants these people dead.

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.

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.

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 don't think it's a mistake to put every great idea into the first movie, because I've always said there won't be a second movie if you go 'we'll hold back these ideas for another one.

I've been in movies where so much of the conversation was about, 'Well, after this movie, you're gonna be the biggest movie star.' I sort of have learned that you never really can predict any of that.

In regards to The Haunting, people compared it to the old movie, which is unfair. We didn't have the rights to the movie. I couldn't duplicate a single thing because that would have been legal infringement.

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.

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.

So Positive Psychology takes seriously the bright hope that if you find yourself stuck in the parking lot of life, with few and only ephemeral pleasures, with minimal gratifications, and without meaning, there is a road out. This road takes you through the countryside of pleasure and gratification, up into the high country of strength and virtue, and finally to the peaks of lasting fulfillment: meaning and purpose

I never try to guess what anyone else will take from a movie. Every movie is such a different experience for each and every person. I don't like it when people try telling people what they should take from a movie. You should go see it with fresh eyes and see for themselves.

Before I had kids I'd go out on the road for months and months at a time, but now I don't think I'd want to do that anymore, because I'd miss too much time at home, so it's just a matter of monitoring how much work that I do and how much time I'm on the road.

And if you can find out something about the laws of your own growth and vision as well as those of photography you may be able to relate the two, create an object that has a life of its own, which transcends craftsmanship. That is a long road, and because it must be your own road nobody can teach it to you or find it for you. There are no shortcuts, no rules.

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.’

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.

Each man's life represents a road toward himself, an attempt at such a road, the intimation of a path... But each of us - experiments of the depths - strives toward his own destiny. We can understand one another; but each of us is able to interpret himself to himself alone.

When you go to the movie theater and the opening of this movie and you see the kids just cracking up with a character you are giving your voice to, you get goose bumps. It's so beautiful.

The movies have been so rank the last couple of years that when I see people lining up to buy tickets I sometimes think that the movies aren't drawing an audience - they're inheriting an audience. People just want to go to a movie. They're stung repeatedly, yet their desire for a good movie - for any movie - is so strong that all over the country they keep lining up.

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.

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.

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.