Top 1200 Sad Movie Quotes & Sayings - Page 16

I remember seeing Richard Pryor's first movie; it was a midnight movie when I was in high school. I must have been about fifteen. It was one of the most cathartic experiences of my life. I'd never laughed that much.

You don't have to know how to make a movie. If you truly love cinema with all your heart and with enough passion, you can't help but make a good movie.

There's some kind of actors that can radically change who they are from movie to movie. I've never really been that kind of actor. I enjoy changing the worlds that I'm in.

I think people like to be thrilled and excited. And a scary movie is a safe way to do that because you're not actually doing it. It's entertainment. You know that you're in the confines of this two-hour space of safety in the movie house.

When I was 18, I drove from New York to California to be a movie star. Not an actor, mind you, but a movie star. Have you ever heard of anything so silly?

God help me if I ever do another movie with an explosion in it. If you see me in a movie where stuff is exploding you'll know I've lost all my money.

I thought I'd have time to become a movie star. And it didn't happen, did it? We're still waiting. And they're saying, 'Don't hold your breath, kid.' Even movie stars can't get movies, you know what I mean?

I don't know a single person that's like, ''Avatar' is my favorite movie.' It never even comes up. I don't know anyone that will defend that movie.

When you make a movie independently, you raise the money beforehand, and then you make the movie kind of by yourself.

I really like my first movie a lot, "Kicking and Screaming." I think it's a - I'm very pleased and proud of that movie, but it wasn't the - it wasn't "Citizen Kane" right out of the box, you know? It wasn't "Sex, Lies and Videotape."

I don't just do a movie to do a movie. Of course I want to amuse people, but some of Madea's greatest moments are when she gets to talk about child rearing and bullying and all kinds of things like that.

Every movie is a surprise. That's what is so fun about it. You can be planning a movie for years, and then you'd better be surprised every day, or it's going to be stale.

After making a movie, maybe you weren't able to shoot many of your ideas, because a movie is only 1 1/2 or two hours long, but TV gives you space to film a lot of things.

It is the idea that it's a movie in a movie. So I did it.

I don't think of myself as a movie star. I'm a movie worker. I come from a railroad family. I come from the corn.

I have the best-ever body in 'Badrinath.' I have a six-pack body in this movie. I spent eight hours a day working out for the movie.

'Y Tu Mama Tambien' is one of the first unrated movies to be nominated for an Academy Award for Best Original Screenplay. But many video stores won't take a movie that's not rated, so I had to make the movie an R.

I want my movies to play in movie theaters. While festivals can fulfill a part of that, there's nothing like getting a week-long run for your movie. It's becoming increasingly difficult to get that.

I find music the the clearest and easiest way in to what a movie will feel like - more so than visual references or other movies or dense dossiers of research material. Every now and then I'll send a piece of music or two to people I'm working with - actors or heads of department - when I think it'll help them get a sense of the kind of movie I'm proposing. Often those pieces will end up in the movie - sometimes they won't.

It can really vary from movie to movie what the producer's role is and there are all kinds of producers. There are line producers who do a lot of the nuts and bolts work on the set.

We went through all the scenes and they became kind of funny and they expanded a little bit and because it seemed to be working so well in the movie, they added a couple of things later on in the movie and that's how it turned out.

A movie moment in a theatre would never be comparable to the same movie moment elsewhere no matter how cheap the big TV becomes.

We have a 'bad movie' club, and we go to whatever dumb movie is playing in the local theater, then go and have some beers and dinner.

Whether it's a popcorn movie or some really intellectual sociopolitical movie, I think to some degree they're all influenced by the social climate that we're living in.

A movie with nothing but violence is not a good movie. But one that is actually entertaining around the horror is one that people will remember and watch again and again.

WWE prepares you for everything in entertainment. It's the truth. You need a host? Get a WWE Superstar. You need someone for an action movie, a comedy movie, a drama movie, you get a WWE Superstar. Because these guys are the most well-versed, well-trained, and hardest working guys out there.

I think as an author you have to allow a movie to be separate from the book. It's an entirely different animal. I almost never mind when a movie changes or cuts something - as long as it helps the film work better.

'Twin Peaks' is like a movie; 'China Beach' is like a movie. These are two of the most cinematic shows on television, and they belong together.

I'm in awe of directors like the Coen brothers who can shoot their script and edit it, and that's the movie. They're not discovering the movie in postproduction. They're editing the script they shot.

Sometimes things work out, sometimes they don't. I never know how successful a movie is going to be - when you make a movie you're always hoping for the best.

I think the approach of the character for us is the same in a silent movie as in a talking movie because we had balance, we had lines to learn.

I feel like my strong side is not being technically perfect at the piano, but at curating my own work. It's not painful for me. I don't feel sad when I have to leave things out, put them in the safe, and not have them in public. I realize many artists feel sad about this process, but for me that's the most exciting part: By losing the weaker moments you make the strong moments stronger.

It's harder to maintain that internet kind of fame. It requires daily work, as opposed to a movie star who can make a movie once every two years and stay in the public eye. I respect it.

If a movie is nominated for, say, an Academy award, that movie will instantly become popular in Japan. There's always been a bit of a complex the Japanese have about being taken seriously in the West.

Y Tu Mama Tambien' is one of the first unrated movies to be nominated for an Academy Award for Best Original Screenplay. But many video stores won't take a movie that's not rated, so I had to make the movie an R.

I took it really seriously... as serious as any actor could take a movie . I had so much fun doing movie Dragonball . But I take any part I do seriously because I feel a sense of responsibility to the young kids who have saved their money to go and see a movie. I feel it's my responsibility to make it the best I can, because I don't want to let anyone down.

I've made some stupid decisions, so I have to be careful. I once said 'no' to a film that was a number-one hit. And 'Date Movie' had the smallest budget of any movie I'd been in, and it went to the top of the box office.

When I watch the movie, which is I don't know how many times I've done now with editing and everything, I walk out giddy just because I feel like that's the movie that I want to see.

I don't think of myself as a movie star and I can pretty easily convince other people that I'm not a movie star.

I really like my first movie a lot, 'Kicking and Screaming.' I think it's a - I'm very pleased and proud of that movie, but it wasn't the - it wasn't 'Citizen Kane' right out of the box, you know? It wasn't 'Sex, Lies and Videotape.'

You don't make a movie, the movie makes you.

Music plays a huge role in the movie. The music in Star Wars, I can't imagine what the movie would have been like without it. It made the film.

How to make a scary movie human, take a movie like Sinister. How can I make that guy so real so that the scary elements of it are more scary and it functions as a genre movie - as the way it's supposed to, you want to hear a ghost story at midnight, that's a good one - but how do you fill it up with humanity inside, in staying true to the genre? You know? Does that make sense?

Sometimes I get to see a movie that's adapted from a book that I haven't heard about or that I love the movie so much that I will, of course, read the book.

It's very rare to watch a movie and think, 'That's the movie we shot!' So many things happen, with edits and things getting cut out.

When I go to see something I'm in, or my friends are in, it's like a home movie. When I just go to the movies and don't know anyone in it, then it's a real movie.

When it comes to the ratings, I don't know what the rating system is. So when it comes to me, I've learned, with the little experience that I have, that when I feel really good about a movie in the editing room, it works. And when I've felt like a movie wasn't working, it didn't work.

I was raised by my aunt and we bonded over the eight-o-clock movie on TV. We'd watch everything from James Cagney in 'White Heat' to Lon Chaney in 'The Wolf Man' and every Bogart movie.

If somebody is smoking a joint in a movie, I say it's a cigarette - a big cigarette if it's a Cheech and Chong movie.

I always say the movie came out good if they want another one. That always tells me that people really liked the movie.

I haven't done a movie without a member of the original cast of 'Zombieland' - they've all been in every movie I've done.

Think of the centre of interest in a painting as you would read it in a novel or see it in a movie. The crisis or climax is that point when you simply can't put the book down or wouldn't dare leave the movie, for whatever reason.

I've personally been involved in movies where people on set were talking about awards for the movie, and I bought into the hype. And then the movie would come out, and not only was it not good, it was horrible.

I was a medium-level juvenile delinquent from Newark who always dreamed about doing a movie. Someone said, 'Hey, here's $7 million, come in and do this genie movie.' What am I going to say, no? So I did it.

I go where I think I can enjoy myself. Sometimes it's on a big movie, and sometimes it's even on a silly movie.

I had read the scripts that Nora Ephron had written as a movie about Mike McAlary. We were never able to make it at HBO because we couldn't cast it properly and when I left I called Nora and said, "Look, I actually think that the movie luckyguyindustry has changed. It's very unlikely that you'd be able to make this as a movie. I actually think it's a play."

I grew up on movie sets, I'm comfortable on sets. A movie set is like a circus. I don't understand why moviemaking has to be such an insane environment.

I've seen the Pokemon movie, which is probably the worst movie ever made on any subject ever.

Hitchcock was one of the few people in Hollywood who had a brand. Every movie he made was an Alfred Hitchcock movie, couldn't have been anyone else.

I think when you get all the money and all the freedom, rarely do you get a good movie out of it or a movie that you're proud of.