Top 1200 Space Movie Quotes & Sayings - Page 19

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.

'The Fugitive Kind,' 'Rope,' 'Who's Afraid of Virginia Woolf?' - I watched all these as a way of reminding myself that you can do a movie based on a play. You can do a movie that stays in one place for a long stretch.

Flying in space is risky. It will never be safe, and the best thing we can do is manage those risks. It's important for people, for human beings, to be in space because they're adaptable and because they're not pre-programmed software that can go off and do tasks that are appropriate for machines.

Wes Craven's 'Shocker' is one of my favorite soundtracks. I don't know where that movie stands in the critical eye of cinema, but it was a really fun movie because of all the bands that were part of it.

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.

As a kid, I was obsessed with space. Well, I was obsessed with nuclear science too, to a point, but before that, I was obsessed with space, and I was really excited about, you know, being an astronaut and designing rockets, which was something that was always exciting to me.

I had such a good time doing that movie [Sister Act 2]. My daughter's in that movie. It was a fun film to do. And it shocked a lot of people, because they loved it, and they take it with them.

I think there is a lot of space for people to love who they love, and a lot of space for actors to carve a niche for themselves.

A unipolar world - one with only one power - makes sure that this space almost disappears. In a multipolar world this space multiplies. Therefore, there is nostalgia for a multipolar world.

Elon just presented a plan for settling the solar system in this century that is realistic and affordable. In my paper, 'A Pathway to a Thriving Commercial Space Economy' at IAC, I also laid out a path forward to a growing economy in space that produces new opportunities for all.

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.

I never expect anything. I am always amazed at why anybody goes to any movie or why anybody doesn't go to any movie. Any movie you make, you make it because you're hoping somebody wants to see it, but you never know.

I would die to record in space. That would be the coolest. If I got the option of, going into outer space and hanging out there for a day, and then coming back home and dying the next day, or just waiting around to see if there's any opportunity for the technology to develop so that I might experience outer space sometime in the future, I would probably take the ride today and die tomorrow. I'd be happy just hanging out between the moon and the Earth, getting a view.

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.

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.

We have those new environments [during Kung Fu Panda 3] that give a scale to the movie, that are the spirit realm and the panda village. The spirit realm, having no gravity, having this massive space, allowed us to do huge action shots. All that we just couldn't do before. We just couldn't get the scale, we'd have to cheat them. This time we found ourselves more free.

By refocusing our space program on Mars for America's future, we can restore the sense of wonder and adventure in space exploration that we knew in the summer of 1969. We won the moon race; now it's time for us to live and work on Mars, first on its moons and then on its surface.

Science fiction was rocket-mad for about 40 years until aerospace hit a brick wall about 1970. I would not write off space colonisation or exploration completely, but we are profoundly ill adapted for going boldly into outer space.

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.

When you go to vacuum in the airlock and you take the hose off the front of your space suit, there's a little bit of water in there, and you can see that sublimate and ice crystals form and fly away. My thought at that moment was, 'Oh, we are not kidding at vacuum here; we are really in space.'

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.

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.

The young girls of color that first encountered the 'me too' movement in community centers and classrooms and church basements were there not only because they needed a safe space, but because they needed their own space.

In the context of general relativity, space almost is a substance. It can bend and twist and stretch, and probably the best way to think about space is to just kind of imagine a big piece of rubber that you can pull and twist and bend.

I want everyone to feel very welcomed in the space of our music and our songs, it doesn't matter what you believe or think, I just want to cultivate a space of peace and to touch on these things that bind us as humans.

When you have emptied all content - thoughts, desires, memories, projections, hopes - when all is gone, for the first time you find yourself, because you are nothing but that pure space, that virgin space within you. Unburdened by anything, that contentless consciousness, that's what you are! Seeing it, realizing it, one is free. One is freedom, one is joy, one is bliss.

As a little kid watching horror movies, if you only got to see the monster for the last two minutes of the movie, I thought that movie pretty much sucked.

The first thing I ever thought of when I thought of Buffy , the movie, was the little...blonde girl who goes into a dark alley and gets killed, in every horror movie. The idea of Buffy was to subvert that idea, that image, and create someone who was a hero where she had always been a victim. That element of surprise ... genre-busting is very much at the heart of both the movie and the series.

I have no rules. For me, it's a full, full experience to make a movie. It takes a lot of time, and I want there to be a lot of stuff in it. You're looking for every shot in the movie to have resonance and want it to be something you can see a second time, and then I'd like it to be something you can see 10 years later, and it becomes a different movie, because you're a different person. So that means I want it to be deep, not in a pretentious way, but I guess I can say I am pretentious in that I pretend. I have aspirations that the movie should trigger off a lot of complex responses.

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.

Actually, it was first a movie called Gale Force, which was a hurricane movie. That script never came together, and then the same deal was replaced with Cliffhanger.

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.

If leaders in the space program had at its beginning in the 1940s, pointed out the benefits to people on earth rather than emphasizing the search for proof of evolution in space, the program would have saved $100 billion in tax money and achieved greater results.

With my horror movies or with this movie [Valley of Violence], same thing. The subtext of this movie is what to take away from it. Plot is never something that's been my driving force as a filmmaker.

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.'

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.

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.

It was cold. Space, the air we breathed, the yellow rocks, were deadly cold. There was something ultimate, passionless, and eternal in this cold. It came to us as a single constant note from the depths of space. We stood on the very boundary of life and death.

I'd like to get shot into space. I'd like to potentially visit the moon. I don't know if I can do that in the next couple years, but I spent some time at the jet propulsion lab, looking out at the future of when a guy like me can do a little space travel.

Organizing time is exactly like organizing space. Just as a closet is a limited amount of space into which you must fit a certain number of objects, a schedule is a limited space into which you must fit a certain number of tasks. Each day and each week is simply a container, a storage unit with a definite capacity. The trick is to treat time not as an abstraction but as something solid that you can hold on to and move around.

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.

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 have a great respect for the moviegoing experience. It's such a unique thing. You're not getting up and walking around the house or flipping channels during the dull parts. You're in a dark space, and the movie fills most of your field of vision. You're surrounded by sound, and the colors are deeply saturated, and faces are fifteen feet high. If it's done well, you're really going to feel some big emotions or have some big belly laughs.

NASA will send up a big sun shade that will be in orbit between the earth and sun and deflect 2 or 3 percent of the sunshine back into space. It would be cheaper than the international space station.

As I studied in a girls' school and a girls' college, I am comfortable in the space where other girls are involved. If you see 'Moggina Manasu,' which was my first release, there were four of us girls sharing screen space.

I remember Tetro was a big deal to me at that time. It was going from zero to one: Never having been in a movie, a person who had no relationship to any of that, and that was my first movie.

The partisanship surrounding space exploration and the retrenching of U.S. space policy are part of a more general trend: the decline of science in the United States. As its interest in science wanes, the country loses ground to the rest of the industrialized world in every measure of technological proficiency.

I have a strong feeling about interesting people in space exploration. . . . And the only way it's going to happen is to have some kid fantasize about getting his ray gun, jumping into his spaceship, and flying into outer space.

When people initially think of the term 'space archaeologist,' they think, 'Oh, it's someone who uses satellites to look for alien settlements on Mars or in outer space,' but the opposite is true - we're actually looking for evidence of past human life on planet earth.

If you're going to lead a space frontier, it has to be government; it'll never be private enterprise. Because the space frontier is dangerous, and it's expensive, and it has unquantified risks. And under those conditions, you cannot establish a capital-market evaluation of that enterprise. You can't get investors.

I think there's an aspect of my soul, of my personality, that's very suited to directing. I like being in the room with actors; I love creating a safe space and a chaotic space for the discovery to take place. I love creating a sense of community.

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.

When you make a movie, you really have to be clever and smart, find something new for the worldwide audience because you aren't making a movie for just France or Germany; it's for everyone in the world.

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.

My quest to expand access to space began more than a decade ago, when I teamed up with Burt Rutan at Scaled Composites to build SpaceShipOne. This innovative air-launched vehicle was the world's first private spacecraft to carry an astronaut into sub-orbital space.

Ambiguity is really important to me. Part of the difficulty facing photographers is that almost any subject matter has accumulated a representational history, so to find a new discursive space, a space to wander around those subject matters, is a real challenge.

Something I was adamant about was that the movie [Everybody Lovess Somebody] wouldn't end with, oh, marriage saved [the main character]. They're married and she's OK. I was very pushing on having the ending be that she made an inner growth of healing so that she can then have the ability and the space to love and be loved by someone else, and that love is open-ended and doesn't mean they're going to get married tomorrow and all her problems are solved.

I think if the movie has resonance and stimulates the viewer to talk about it, you can have as large an audience as you want. The most important thing for me is that the movie exists. And that's success enough already.

A broad trend I'm completely obsessed with is mobile commerce. Like completely. I'm completely convinced that everybody's going to be buying from their mobile devices. Whoever can claim that space or be in that space, I'm very interested in.