Top 1200 Stupid Movie Quotes & Sayings - Page 15

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 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.

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.’

There are only four types of officer. First, there are the lazy, stupid ones. Leave them alone, they do no harm…Second, there are the hard- working, intelligent ones. They make excellent staff officers, ensuring that every detail is properly considered. Third, there are the hard- working, stupid ones. These people are a menace and must be fired at once. They create irrelevant work for everybody. Finally, there are the intelligent, lazy ones. They are suited for the highest office.

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.

"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.

Some of these people think the universe is five thousand years old, and they say it with a straight face. If somebody had an explanation saying why they thought the earth was five thousand years old, there's only two possible explanations: you're really stupid, or you're really cynical and trying to get really stupid people's votes.

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 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.

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.

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.

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.

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.

We mapped out the whole movie, and then worked backwards from that to do these shows. It might not be a movie. It might be something else.

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.

I'm the biggest proponent of test screenings now. There's two ways to face test screenings. For dramas, I don't know if I would rely on them as much, although I still think you need them, because you're making a movie for an audience at the end of the day. But with comedy... You could go through a script or anything I ever worked on, where you go, "This is hilarious," and you put it in front of people and you get nothing. And then the other side of it, is something you're like, "I think this is really stupid," and it gets a giant laugh.

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.

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.

Sometimes events happen in one Marvel movie that mean you have to adjust what you planned to happen in a different movie, because they're interconnected.

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.

I have wanted to kill myself a hundred times, but somehow I am still in love with life. This ridiculous weakness is perhaps one of our more stupid melancholy propensities, for is there anything more stupid than to be eager to go on carrying a burden which one would gladly throw away, to loathe one’s very being and yet to hold it fast, to fondle the snake that devours us until it has eaten our hearts away?

The unique idea of [The Darkest Time] movie is because in usual if you are in darkness, you are scared. But this movie is the opposite. In darkness, you are okay.

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.

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 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.

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.

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.

Smart people sometimes get stupid, but stupid people never get smart.

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.

Writing for television is completely different from movie scriptwriting. A movie is all about the director's vision, but television is a writer's medium.

I do believe that a belief in God is crazy, but that doesn't mean that the people who believe in it are crazy. Those are two different things. Ideas can be stupid and crazy, and the people who hold those ideas are not necessarily stupid and crazy.

People are stupid; given proper motivation, almost anyone will believe almost anything. BecauHse people are stupid, they will believe a lie because they want to believe it’s true, or because they are afraid it might be true.

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.

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.

"Stupid English." "English isn't stupid," I say. "Well, my English teacher is." He makes a face. "Mr. Franklin assigned an essay about our favorite subject, and I wanted to write about lunch, but he won't let me." "Why not?" "He says lunch isn't a subject." I glance at him. "It isn't." "Well," Jacob says, "it's not a predicate, either. Shouldn't he know that?"

When you make a war movie, the other side has to be the enemy. You're making a war movie from the point of view of a soldier fighting it.

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.

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 want to make you faint. I will make you faint. You've had this coming to you for years. None of the fools you've known have kissed you like this - have they? Your precious Charles or Frank or your stupid Ashley... I said your stupid Ashley. Gentlemen all - what do they know about women? What do they know about you? I know you.

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.

My favorite movie is Lawrence Of Arabia. But that's a long, long movie. So although I've seen it several times, it's not as fun as Jaws.

For a movie's success, comedy must blend with the storyline. Else, comedy might click but the movie will die.

We can't make a giant sprawling movie. We're going to make a small movie. And what we got is what I could get, performance-wise.

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.

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.

'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 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.

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.

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.

The groove is so mysterious. We're born with it and we lose it and the world seems to split apart before our eyes into stupid and cool. When we get it back, the world unifies around us, and both stupid and cool fall away. I am grateful to those who are keepers of the groove. The babies and the grandmas who hang on to it and help us remember when we forget that any kind of dancing is better than no dancing at all.

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.

I think making friends is not being afraid to look stupid, because everyone wants a friend who is willing to be stupid and fun. If you try and be too cool, it only works in high school. After that, being uncool is a very cool thing to do. So just have fun, and don't worry what other people think of you and people will want to be your friends.

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 don't normally get very star struck. However, I was just at a table read for a movie. It was an animated movie where they have all the actors come in and sit around a big table and read the whole script out loud so you can see what's working, what's not working. And this is an animated movie that Paul McCartney is doing and he's producing it. So I got to meet Paul McCartney.

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.

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.

The world goes on, as stupid and brutal as tomorrow as it was today. And though I am shuddering with pain, and twisting with pain, and sobbing with pain, i laugh.Because I know now. I know the answer. I know the truth. Oh,dead man, you are dead wrong, I tell him.Can't you see? The world goes on, stupid and brutal, but I [do not. I do not.]

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.

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.