Top 1200 Space Movie Quotes & Sayings - Page 20

I think there's a very fundamental urge to create a safe space, a home; most animals have that impulse, and humans certainly do - with some exceptions, like nomadic people who perhaps don't feel the need to settle in quite that way. But most of us do want to have space, somewhere we feel secure and where we repeatedly return. Somewhere we can sleep without fear. And there's nothing wrong with that desire. It's completely understandable. It only becomes ugly when that creation of a safe space involves making an enclosure from which other people are kept out.

I'm a young guy called 'commutative ring', but I was originally 'the ring of continuous functions on a compact Hausdorff space'. Now I am an algebraic object, so I must say goodbye to my home village, the space, but I will always keep it in my heart as a set of maximal ideals.

If we can avoid disaster for the next two centuries, our species should be safe as we spread into space. If we are the only intellegent beings in the galaxy we should make sure we survive and continue. . . . Our only chance of long-term survival is not to remain inward looking on planet Earth but to spread out into space. We have made remarkable progress in the last hundred years. But if we want to continue beyond the next hundred years, our future is in space.

We should've asked China to be a portion of the space station. We should've worked out ways that we can... just give away the technology that we have that puts things up into space, with cooperation up above the atmosphere that's needed to help each other.

Flying has changed how we imagine our planet, which we have seen whole from space, so that even the farthest nations are ecological neighbors. It has changed our ideas about time. When you can gird the earth at 1,000 m.p.h., how can you endure the tardiness of a plumber? Most of all, flying has changed our sense of our body, the personal space in which we live, now elastic and swift. I could be in Bombay for afternoon tea if I wished. My body isn't limited by its own weaknesses; it can rush through space.

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.

Before deciding what to do about national space policy, Obama set up an outside review panel of space experts, headed up by my friend Norm Augustine, former head of Lockheed Martin and a former government official.

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.

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.

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.

Space may seem distant, but is an integral part of our daily life. It drives our modern communication and connects even the remotest family to the ordinary. India's space programme is a perfect example of our vision of Scale, Speed and Skill.

The Hubble Space Telescope, which was designed for extreme servicing, you know, we can fix everything. And the James Webb Space Telescope, where we can fix nothing. It has to work the first time. And it's a very complicated telescope.

Time is the worst place, so to speak, to get lost in, as Arthur Dent could testify, having been lost in both time and space a good deal. At least being lost in space kept you busy.

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.

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.

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.

There's something that's very human about 'Warriorv that brings you out. You're watching the movie and, yeah, there's fighting - there's a tournament at the end of the movie - but it takes a long time to get to know these people.

The bigger shift in space exploration won't be commercial crew - that will be a validation of something we already knew was going to be the case. It will be when you have a fully private company launching everyday citizens. When people know people in their communities who have been to space on a daily basis.

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.

His absence will haunt their hallways, and he will be a space they can't fill. And then time will pass, and the hole will be gone, like when an organ is removed and the body's fluids flow into the space it leaves. Humans can't tolerate emptiness for long.

I think I should be in a film called 'Space Shrews'. Where I go to space. With a load of shrews. And nothing really happens. We just get out and have a lolly and then come back. But it'll be a musical the ship will be built out of my own hair.

Silence is helpful, but you don't need it in order to find stillness. Even when there is noise, you can be aware of the stillness underneath the noise, of the space in which the noise arises. That is the inner space of pure awareness, consciousness itself.

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.

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.’

"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.

There are so many women who contributed in a very real way in pushing for the space program during the time in which there was a lot of competition to get into space first, and to know that there were African-American women who were integral in that success is pretty phenomenal.

Life on Earth is at the ever-increasing risk of being wiped out by a disaster, such as sudden global warming, nuclear war, a genetically engineered virus or other dangers. I think the human race has no future if it doesn't go into space. I therefore want to encourage public interest in space.

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.

I thought I was prepared for space, and it still absolutely defied every expectation and dream. It is an incredible thing to put yourself on a rocket and launch off the planet. It is an amazing thing to see the planet from space. This blue sphere is almost indescribably beautiful.

'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.

I think it's like that for people who don't remember 1969 first-hand. It's that sense of 'old hat.' Of 'been there, done that.' Space shuttles, space stations, communications satellites, GPS - they're all part of our everyday, taken-for-granted world in 2009, not part of an incredible odyssey.

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'm never interested in the painting being a mirror to culture. I think that's really boring. What I'm interested in is painting as an affective space. The place where the hierarchies of the world can be rearranged within the space of a painting. And they can be articulated in different ways.

I give myself a Pilates/yoga hybrid mat class almost every day. I also continue to take ballet classes. Both of these practices help me to be aware of my body, my center, and how I move, both with my physical space and my mental space.

Just as the lunar landings inspired many young people to consider careers in space and related fields, the solution of the challenging instrumentation problems presented in space science can inspire young people to push beyond the current state of the art.

Despite the campaign rhetoric, the bureaucracies-big business and big government-are here to stay. The centralization effort cannot be checked. but it can be rationally directed towards our species goal: Space Migration, which in turn offers the only way to re-attain individual freedom of space-time and the small-group social structures which obviously best suit our nervous systems. It is another paradox of neuro-genetics that only in space habitats can humanity return to the village life and pastoral style for which we all long.

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.

I knew I had to get out of Boston and stop making movies there, at least for one movie, otherwise no one would ever consider me for a movie that took place south of Providence.

We will build in Britain a cyber strike capability so we can strike back in cyber space against enemies who attack us, putting cyber alongside land, sea, air and space as a mainstream military activity.

Christian audience, I think, have grown very tired of movies that try to pander to them. For instance if someone goes, "Ok, we're designing what we're going to do with this movie. It's a Christian movie and they'll eat it up." And you know what? Consumers are smarter than that. They go, "The movie isn't that great and he thought that I would just be a sucker and plop my $10 down for it?" Because you're looking down at the audience. You can't pander to an audience.

Space is much stiffer than you imagine; it's stiffer than a gigantic piece of iron. That's why it's taken so damned long to detect gravitational waves: to deform space takes an enormous amount of energy, and there are only so many things that have enough.

I'm not a big fan of violent movies, it's not something I like to watch. And it's not my aim or goal to make a violent movie. My characters are very important, so when I'm trying to depict a certain character in my movie, if my character is violent, it will be expressed that way in the film. You cannot really deny what a character is about. To repeat, my movie end up becoming violent, but I don't start with the intent of making violent movies.

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.

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.

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.

I was a flight engineer on my second flight, which is the most senior position a non-American can have aboard the shuttle. We're the cockpit crew. We fly the vehicle up to space, dock the vehicle to the space station, undock it at the end of the mission, and return it to the ground.

I first saw Dead Man in high school, and it changed everything. That movie was like a memory to me - I would get things that occurred in that movie confused with my actual life.

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.

Science does not just drive space travel - space travel also drives science.

I've had tragedy in my life, and it doesn't stop comedy, so I think it's important to do both. Particularly in a superhero movie, but in any movie that accesses all people. Nobody wants to be abused for two hours.

We conventionally divide space into private and public realms, and we know these legal distinctions very well because we've become experts at protecting our private property and private space. But we're less attuned to the nuances of the public.

Man must at all costs overcome the Earth's gravity and have, in reserve, the space at least of the Solar System. All kinds of danger wait for him on the Earth. . . . We have said a great deal about the advantages of migration into space, but not all can be said or even imagined.

Space is big. Really big. You just won't believe how vastly, hugely, mind-bogglingly big it is. I mean, you may think it's a long way down the road to the chemist, but that's just peanuts to space.

I think our movie, 'Now You See Me,' is an emotional movie rooted in smart and wits and fully amazing actors working perfectly together. It's like a supergroup of musicians.

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.

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.

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.

We're in space and space is the place!

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.