Top 1200 Silent Movie Quotes & Sayings - Page 20

Had we had all the money in the world to spend and we were doing another studio movie, we probably would have jumped quickly into the Necromonger universe and done an Orpheus Descending movie there. We didn't have that kind of resource. So, we said, this time, "If not that, this time, then what is it? What does this new movie look like?" Quickly, just in talking about it very simply with Vin [Diesel] in his kitchen, we decided on a survival, left-for-dead story, where Riddick could, as a character, reclaim the animal side.

A movie that's about other horror movies isn't interesting. A movie about who we are, is.

I have to understand how we are going to market the movie. We view marketing as an extension of content creation... Every time a consumer sees our movie, in whatever form, our obligation is to entertain the audience.

Usually, you just have a hero and a villain - in any movie, not just a superhero movie.

The ending is really the most important part of the movie. If the first hour and 20 minutes is terrific and the last ten minutes stinks, everybody walks out of the theatre and says: 'That was a lousy movie!'

I couldn't say no to jobs and I couldn't say no to drugs. I'd get high from a movie, I'd be somebody else because I didn't particularly like me, so long as I had a script in my hand, I was okay. As soon as the movie was over, I didn't know what to do.

Every time we make a movie, 'Guardians' included, 'Black Panther' included, 'Infinity War' included, we just feel lucky to be making that movie, and that's basically what the focus is on.

This is not a documentary. Are there essential truths that are captured by this movie? I think unquestionably the answer is yes. Do you have to change certain things to make it work? The book is called '13 Hours'; the movie is two hours long.

I always wanted to do a movie that deals with America's horrific past with slavery, but the way I wanted to deal with it is - as opposed to doing it as a huge historical movie with a capital H - I thought it could be better if it was wrapped up in genre.

'Newton' is a black comedy, a social satire. Amit Masurkar is directing the movie, and Drishyam films is producing. Rajkummar Rao is in the movie. I am playing a very important character. It is a very interesting project.

The difference between a movie star and a movie actor is this - a movie star will say, 'How can I change the script to suit me?' and a movie actor will say. 'How can I change me to suit the script?'

I would like to perform more in English. But there have to be many good things gathered for me to be willing to do a movie. I watch trailers of every new American movie and I'm, like, 'OK, I'm not missing anything!'

I'm working on a movie called 'Virgin Mary' with Abigail Breslin. I'm also in 'Ice Age 4: Continental Drift.' And I have a television movie coming on Nickelodeon that I worked on with Nick Cannon. I acted in it, but I am more excited about being a producer!

If it's a choice between spending twenty five dollars for tickets to a movie and almost that much again for drinks and popcorn, it's understandable that people are opting to buy a movie on DVD for fifteen dollars, even if it's no-frills.

I wish that I had been in 'School of Rock' because, when I was younger, that movie was the movie. It really made me want to be an actor - that's so cheesy. But I remember seeing it when I was little and loving it so much, being like, 'I wish that I was in that.'

When I got off '24,' pretty soon after that I did a movie that took place in the '70s, this movie with Jimmy Caan and Gena Rowlands, and I needed to kind of have that '70s pouffy housewife hair.

One of my favorite things about making horror movies is, the first time you screen them in front of an audience, it's very fun to hear people audibly react to the work you put into a movie. You don't wonder at the end of the movie whether it worked or not.

I'm not just saying this because I'm in the movie, but I really would recommend 'Secretariat.' It's fun, inspiring, and it's a great movie to take your little kids, brothers, sisters, or nieces and nephews to see that actually has real people in it and not animated characters.

I think there's a danger that some people look at the success of my first movie as a fluke. So I want to make sure that my second film is an even bigger success. Then if I direct my third movie and it's terrible, it'll be okay.

The movie is so fun. I've done period pieces before but nothing with this twist. And the movie is just full of such wonderful people, such young actors - people like Matt Smith that I've been friends with for a while.

I like collaboration, I like to incorporate other people's ideas [and] that's what happens when you do a big movie. Unless you're called Stanley Kubrick and you do an independent movie for like $200 million.

I think, probably, the place that I feel I most belong is a movie set. It doesn't matter where it is in the world or who I'm making the movie with; that's the closest thing that I've got to a sense of placement. So I guess acting was a way of finding a home, if that makes sense.

If I have a better idea, I say, 'Can we try one like this?' I try not to step on writers' toes, but ninety-nine percent of the time, it ends up in the movie, and sometimes it's the line that everyone remembers and quotes from the movie.

That movie 'Hellraiser 2' - to me, that was the most evilest display of evil I've ever seen. I watched that movie ten times because I couldn't believe that each character became more evil than the other.

The script is so key to making a good movie. But everything is against you when you're making a movie: the logistics of putting a crew out where you need to go, whether the light is fading; if the weather's not right, something's wrong.

I like doing firsts and 'Love per Square Foot' will be the first ever Indian movie to premiere on a digital platform. Netflix saw the movie, loved it and proposed that we premiere it with them.

If you like dark movies or light movies, 'The Empire Strikes Back' is one of the great movies of all time. It's probably the greatest movie of all time. 'A New Hope' is a superb movie. It's probably the second-greatest movie of all time, but 'The Empire Strikes Back' is better.

I've never played a Dane in a movie. I've had offers to be in Danish movies, including for some good directors, but I either had a job at the time or, when I was available, the movie just didn't happen. Hopefully someday I'll do one.

Along with loving the script, the reason I did 'Aeon Flux' was because I needed the job, and I couldn't find $5 million to make a movie independently - after making a fairly successful movie for a million dollars.

When you do a movie, you shoot, and then you go away. A lot of the times you walk about from the movie, you say, 'Oh, I get that scene now... Oh, that whole ending - I wish I could have done another shot.'

I would say 'American Werewolf in London' is like an unconventional buddy movie: even if the buddy dies 20 minutes in, he still remains throughout the picture, and their partnership is one of the best things in the movie.

If you're in a hit movie, it's good to be in another hit movie straight away.

I thought Rounders was a comic movie in its way. First time I directed a movie, I wanted to do a comedy. I don't like things that are superficially one thing or another, mainly. My favorite comedies are really smart, too, and have a lot of levels to them as well.

I think a good movie is a good movie whether that falls into a genre or not.

I learn from every movie I do because on every movie, I have a different experience.

In the evolution of the [The Hunger Games] movie, Gary [Ross] and I talked a lot about tonal bandwidth and making sure that the look and feel and style and choices of the movie stayed within a certain consistent bandwidth.

I don't want to make a movie till I have an idea I have to make. I don't want to make a movie just to make a movie.

I always think that you finish one movie, you start a new one, and you think, 'OK. I did that last one. Now I've learned. I know how this works.' Then by the end of the movie, you think, 'No, I don't, really.'

The more lines I have, in general, the worse a movie is. It's very rare that I get say great things in fantastic movies. So if you see me as like, number one on a call sheet? In general, that movie is pretty bad.

We love being in business with Guillermo [Del Toro]and frankly that movie, if you look it up, did I think more business than the first X-Men, did more than Batman Begins, our first movie, did more than Superman Returns, The Fast and the Furious, Star Trek- so for a movie that was an original property that we made up it's done really well.

I don't know where my next movie is going to get financed or if it will. I think every filmmaker is probably worried about that, unless their movie made a fortune. My movies make a profit, but obviously not a fortune. So yeah, it's scary.

Other than Peter Jackson doing 'Lord of the Rings,' I don't get it when filmmakers follow up a movie with a sequel to the same movie. God bless 'em if they can be up for it, but that would drive me insane.

This movie will actually increase the sex life of parents everywhere because they can put this on, with the 45 minutes of extras and they've got almost two hours to do whatever they've got to do while the kids watch the movie.

You get to actually make your movie. As a filmmaker, that's the dream. That's why you get up in the morning, to be able to do that. You feel constrained sometimes, but if the movie makes sense in the budget realm, then it isn't hard.

You could go out with a camcorder tomorrow and make a movie with virtually no money, but promoting a tiny low-budget movie costs $20 million. And the money they spend on the big movies is astronomical.

When Maurice touched a keyboard, it was like something from a movie, magical. He would always give you something from a movie, and you'd go, what did you just play... immediately inspirational writings, amazing. That's what we're going to miss.

When you make a movie, you can only make the movie that you would want to see.

Growing up, my favorite movie was 'The Lion King.' I used to watch it every day and create these extravagant stories with my Barbies and stuffed animals. My dad says I would say the entire movie out loud, and it's still the one VHS that I have.

Sometimes when I make a movie, my main goal is to show the movie to one particular director.It's not about competing. It's mostly about someone who did something that blew your mind and you want to see if you can render the joy.

Julie Christie was absolutely amazing in Away From Her. Brilliant movie. It was the moving story of a woman who forgets her own husband. Hillary Clinton calls it the feel good movie of the year.

When 'Ruby Sparks' came out, I had to do so many interviews where I had to explain the film and my politics. And I think there was a willful misunderstanding by some people. They thought the movie was trying to perpetrate the thing the movie was deconstructing.

It depends on the way you shoot it. It's something I don't really control. The main goal is to make a funny movie, but then I let my mind go. I get lost sometimes in the writing, trying to find some special zones. That's the excitement of making a movie.

I learn from every movie I do because on every movie I have a different experience.

I want do a Mandarin language movie. It'll probably be the next movie I do after the one I do next.

I really hate misunderstandings - to a degree that it's hard for me to watch sitcoms, or any kind of funny movie where there's, like, this big mishap, or miscommunication. It gives me such anxiety that I almost can't make it through the movie.

I don`t want people walking out of a movie thinking I was trying to act or be some movie star. I want them to think, `That might make me like Jessica a little bit more.`

Clint Eastwood enables and allows things to happen. You walk on some sets and it's like walking into an emergency room. It's like, "Come on guys, we're just making a movie here." That tension runs into the performances and into the movie.

I saw how you could get away with such a free-spirited, naturalistic sensibility in a mainstream Hollywood movie, and you could apply a lot of the skills of the '70s icons that I really admire to a contemporary, commercial movie.

Movie dialogue is movie dialogue. It can sound real, but no one speaks that way.

It's something I want to do going forward - make a movie that is commercial and universal and will play in any movie theater or living room in the States or the UK, but is definitively Canadian. I don't think there's such a thing as prohibitively Canadian.