Top 1200 Sports Movie Quotes & Sayings - Page 16

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.

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.

Reality' is a movie generated by our brains. Because we don't realize this, we are far too confident that the stuff appearing in the movie is actually 'out there' in the world when, in fact, it's not.

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.

Al Bernstein has seen cable television sports grow up. In 30 Years/30 Undeniable Truths he looks at his time in the industry through a prism that is unique to him. This book gives the reader an insight into the sometimes absurd world of television sports. There is a 31st undeniable truth: Al Bernstein is a truly funny man.

I've done one movie. And it's not a movie I want to stand on as far as acting ability goes. I mean, I'm not going to win an Oscar anytime soon. I'm not Meryl Streep.

'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.

I read the book and I think, "Well, this is the movie we're going to make," and then someone else reads it, and they take a completely different movie from it. And both are valid.

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.

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.

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.

You can skim those stage directions and go right to the dialogue. You can almost read the movie in the same amount of time it will take you to see the movie.

Being a celebrity you always get really good seats to sporting events but you never get as good seats as the photographers get. And I really love sports. So one of the scams I have going now is I want to learn sports photography so I can get better seats at a sporting event.

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.

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 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.

I started, actually, in journalism when I was - well. I started at the 'New York Times' when I was 18 years old, actually, but really got into journalism when I was 15 years old and had started a sports magazine which was trying to become a national sports magazine.

I played sports. The acting thing was just a direct blessing from the Lord, because I lost my discipline to play sports, and I had this really cool professor grab me and kind of take me under his wing, and the ball just started rolling. Another professor introduced me to my first agent, and the next thing you know, I got to start doing films.

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.

I think with more electric vehicles on the road, hopefully we'll still be able to drive some fantastic sports cars with big V8s, or V10s, or even V12s. Why not? If we can find a way to balance the automotive world, where ultimately, when we have most of the commuters drive electric cars, then we won't really have any issue with some sports cars driving around.

I love the game of basketball. I guess it started with 'Space Jam.' Right after that movie, I went out there to my little Flight hoop and tried to do every dunk in the movie.

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.

You can take a handful of dollars, a good story, and people with passion and make a movie that will stand up against any $70 million movie.

In making a movie, you're part of a big machine. Even in a small movie there are still so many people involved in the process, and it costs so much money to make.

My number one horror movie is the '60s British version of 'Ten Little Indians.' This movie scared me to death when I was a kid - I still dream about it.

Rob Lowe, who I thought was really good in the movie [ Bad Influence], had his performance overshadowed by this sort of tabloid approach to him and the movie.

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.

My best career moments have come being a fan first. Because that's why we love sports, and that's why I got into sports - those highs and lows on that roller coaster ride that I don't want to get off - because I enjoy the highs as much as I enjoy the lows. The highs are even better when you experience the lows, and that can apply when rooting for your favorite sports team or your career. It's also important not to get too high or too low, and it's also important not to listen to the noise. You just have to do it for you in those career moments because they're gonna come.

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.

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 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.

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.

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.

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.

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.

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'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.

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.

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.

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.

"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.

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.

I would like to have a movie under my own control sometime, and see what could be done with it. Who knows? Maybe Hollywood will make an improvisational movie someday.

I have met a lot of top chefs around the world during my travels. Each one of them has said 'Ratatouille' is their favorite movie and the only movie that truly captures what they do.

I also care that the public are getting their 12 dollars worth when they go to a movie, and that they're not coming out not wanting to ever see a movie with me in it again.

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.

In the early years of the Roaring Twenties, American women not only won the right to vote but they also earned headlines along side their male counterparts during the Golden Age of American sports. Michael Bohn shares an engaging story of how two sports heroines, tennis player Helen Wills and swimmer Gertrude Ederle, helped embolden women to seek self-fulfillment by challenging the status quo.

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.

Men have no cause to criticize women about the way they are about weddings. Because men are like that about sports, but it never ends. At least women, after the wedding, say it wasn't that big a deal and they're never going to look at the DVD again. Men never stop being crazy about sports.

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.

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.

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.

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.

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.

The western will always be here. And it just depends on how good you make one. And one movie doesn't kill it. And one movie doesn't preserve it. It's storytelling. It's a very American thing. I'll continue to do it.

I've ended up as a filmmaker who really loves the movie part of movies. That time in my life was a big influence on the kind of movies that I ended up making. I always think I'm going to make a movie that's gritty and real, but then I make a movie that's like an opera. I fight it at first and then that's just the way it is.

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.

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.

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.’