Top 1200 Silent Movie Quotes & Sayings - Page 14

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.

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.

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.

'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 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."

'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.

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

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.

Certainly, 3rd acts of any movie are hard. It's always hard to have something that will give you the promises from the beginning of the movie. That's true for all movies.

Mystery makes movie stars! If you see someone on the cover of the weeklies all the time, why would you want to pay to see them in a movie?

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 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?

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?

The attraction of watching a movie called 'Alien vs. Predator' is you're anticipating - and the movie has to deliver - battle scenes and fight scenes between the two creatures.

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 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.

It was at Harvard not quite forty years ago that I went into an anechoic [totally silent] chamber not expecting in that silent room to hear two sounds: one high, my nervous system in operation, one low, my blood in circulation. The reason I did not expect to hear those two sounds was that they were set into vibration without any intention on my part. That experience gave my life direction, the exploration of nonintention. No one else was doing that. I would do it for us. I did not know immediately what I was doing, nor, after all these years, have I found out much. I compose music.

I've never tried to make a movie to pay an overhead. We're in a very creative business, and I want to make movies because I enjoy that movie or that material.

You have a soft spot in your heart for each movie, and you're doing certain things. You're learning as you're going, as a director, and each movie is its own entity.

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.

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.

The moment that you start to read a script, you're watching the movie in your mind, and that's the one moment that you have. Then, you go off to make the movie and you become so lost in it.

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.

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.

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.

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.

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.

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.

The Olympic gold was like going to a theater and seeing a movie that had the ending you expected. But you left the theater thinking, 'You know, that was a good movie.'

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.

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 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.

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 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.

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.

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

Tim Burton is underrated. I loved Big Fish, loved that movie, think it's the best movie of the year, hands down. Really impressed with that.

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

Certainly, every movie has to be looked at differently. But I think what happens is, every couple of years, a movie comes along that everybody then tries to copy.

I don't do the running commentary as the movie's playing. I think you should be able to watch the movie without listening to me talk while the movies playing.

'V for Vendetta' is an amazing movie, and it had an obvious message, but it was done so perfectly. I got out of the movie, and I wanted to march so hard. I wanted to be an activist.

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.

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.

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.

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 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.

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

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.

That's the only way I can control my movie. If you shoot everything, then everything is liable to end up in the movie. If you have a vision, you don't have to cover every scene.

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

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

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.

A movie that I'm involved with and have a lot of love for, which is On The Road, does use a lot of handheld. It can be done beautifully. I'm proud of that. It's a very beautiful movie.

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.

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.

My very first acting gig was in a movie for Russ Parr. He did this movie called "Love for Sale," and that was my first role in any film.

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 loved Tolkien and I loved 'Star Wars,' which was the first memory that I have being in a movie theater. And, of course, that was the defining movie for me as a kid.