Top 1200 Stupid Movie Quotes & Sayings - Page 19

I don't know if you hear this often but I would say The Razor's Edge (loosely based on a great W. Somerset Maugham novel). This was Bill Murray's first dramatic role so everyone thought he stunk in this deep character but I thought he and the movie were great. The movie takes place over decades so you see Murray's character go from goofy playboy all the way to wiser, older person. It's basically a movie version of the journey I described.

I saw the movie Sid & Nancy. It was a pretty good movie. It didn't really make me a punk rock fan. But anything that's new, as long as it's good I enjoy it.

First of all, I had the desire for that format [silent movie], and then when I was talking to people, I felt that people needed justification. Why are you doing a silent movie? Is it just for your own pleasure? I felt it was not enough for them so I realized I have to choose the subject that will make things easier for them and to tell the story of a silent actor makes sense for doing a silent movie.

I'd really like to do a movie, either as a producer or director. My ultimate fantasy would be to direct a movie and produce the entire soundtrack. I don't really see myself acting.

I was focused on The Hunger Games movie with my director, with the studio, and with the cast and crew. We all just focused on making the best possible movie we could, and earning the right to do more.

I don't mind reminding people it's a movie, or that you're telling a story. Everybody knows this, but for some reason, we want to be real. I don't get it, I like the fakeness of my craft. I don't think the audience minds-they all know we're making a movie.

When you're thinking about something that you don't understand, you have a terrible, uncomfortable feeling called confusion... Now, is the confusion's because we're all some kind of apes that are kind of stupid working against this, trying to figure out [how] to put the two sticks together to reach the banana and we can't quite make it... So I always feel stupid. Once in a while, though, the sticks go together on me and I reach the banana.

I always try to better myself with every movie I make. I don't take anything sitting back, and so I try to learn from every film I make and carry that onto the next movie because I think it's important as a filmmaker to keep growing with each film, and I think I am growing with each movie.

My dad and I used to do movie marathons when I was a kid at the Chinese Theatre, and I just remember thinking, 'One day I want to have a movie here' And then later on, when 'Save The Last Dance' premiered there, that was definitely a full circle moment.

A movie is painting, it's photography, it's literature - because you have to have the screenplay - it's music. Put a different soundtrack to a comedy and it's a tragedy. A movie combines all those forms and forces you to pay attention for two hours with a group of people.

I've written tons of scripts, and when I wrote 'The New Girl in Town,' I read it to my parents, and they suggested I make a movie out of it. I got a few friends together, and I shot the movie in one weekend, and then my mom and I edited it.

I think it worked two ways. One, a lot of people writing about the movie used that as shorthand and it could either be a good thing or they could use it to dismiss the movie like we were a copycat movie or something like that. It's very much its own story. It is a young woman in a post-apocalyptic society, but after that it's just a whole different kind of story and a different journey that she goes through.

To do a movie about someone who actually lived gives you two responsibilities. You have to try to be accurate to the facts of what he did and what he was like as a character. Then, at the same time, you have a responsibility to make a movie that entertains and can get an audience.

It makes you feel good when a movie works. Usually when I see an old movie I've made, I say to myself, 'Oh God, why did I do this?' and 'Why didn't I change that?' and things like that.

A live action movie is work, and an animated movie is you showing up in your pajamas once every three months, or in my case, just a splash of baby powder. It's not any kind of heavy lifting.

I've learned that you never have to think about how to make money. You need only to focus on what you think is going to be a good movie or what's a movie I'd like to watch as the audience.

Everybody wants a movie career. I found that pretty elusive. I did make a movie with Martin Sheen about a nuclear scientist who has a religious experience. I don't even know what it was called. I don't think it was ever released.

Spare a thought for 'Suburbicon' as it swiftly vanishes from America's megaplexes. This is George Clooney's movie about - well, I'm not sure. It's supposed to be the sort of movie that doesn't get made much anymore: starry, not that expensive, 'middlebrow.'

In a movie that's sort of a single monster movie, like 'Jaws,' once you see the animal, it identifies the threat, and you're able to start working on ways to take down the threat.

My approach has always been to put 100% into the movie I'm making right now. I think sometimes filmmakers put too much thought into the grand franchise they're going to build. And guess what? If the first movie doesn't work there is no franchise, so I'm always concentrated on making the best, best possible movie right now.

I just hate when things get labeled as "black movies." I don't say, "Oh, this weekend, I want to see an all-white movie," or "I want to see a black movie." I just go to a movie because I saw the previews and I relate to it. I want to see it because the previews look interesting.

You need to learn that, unless your lead character is written in a way that one of the 20 movie stars want to play him, your movie will not get made.

The whole first movie [Twilight] was pretty fun. I had never really done a movie like it, when there's such a big cast of people that are around about the same age. Everyone didn't really know what was going to happen with the movie, but there was a good energy. There was something which people were fighting for in a way. They wanted it to be something special. Also, none of us were really known then as well.

Being in the moment with these guys was just a profound experience every day, and when we shoot a movie it's actually a very short process, especially an independent movie like this. It was only thirty five days of shooting.

That was one of the things I hadn't really put together. Since the first movie and this movie, the rest of us have been living that revolution, largely engineered by people who were Tron fans. That's pretty deep, man.

I studied fine arts and architecture, but I decided to move into movie design because I grew up in a small town in the Marche region and spent a lot of time after school in the movie theater.

The difference between ignorant and educated people is that the latter know more facts. But that has nothing to do with whether they are stupid or intelligent. The difference between stupid and intelligent people-and this is true whether or not they are well-educated-is that intelligent people can handle subtlety. They are not baffled by ambiguous or even contradictory situations-in fact, they expect them and are apt to become suspicious when things seem overly straightforward.

Dreams come true, but then things happen that are beyond anything you could dream. To be in a movie and to be in the same room participating in a movie with Meryl Streep? Come on!

'Breaking Away' was a great experience. It's the kind of movie that engenders a lot of goodwill from people. It's a movie that they cherish. and I feel very welcomed and accepted by people because of that.

One of the things that separates a good genre movie from a bad genre movie, I always think, ironically, is when you care about the people. The dime a dozen ones are where you don't have any awareness of the character.

I'm so proud to have work in this movie, "Brokeback Mountain," a movie that once again shows us that love is what makes us all very similar in spite that we can be so different, too.

Multiplicity was a movie that tested really well. People seeing the movie really liked it, but then the studio couldn't market it. We opened on a weekend with nine other films.

Because to me, what is interesting about this movie [Real Steel] is its combination of relationship naturalism with. It's like a single conceit movie. The world and the people are very much the way we know them to be, but this sport has evolved.

I think the danger in trying to set too many things up or do too much world-building in a movie so soon is you forget to actually make a movie.

There was one vampire movie that Gerard Butler was in, 'Dracula 2000,' and they touched on something interesting, but it only worked in the context of that particular movie, which was that the original vampire was Judas.

When you have a major movie star, and then they're surrounded by local extras, it takes me out or makes me more conscious of what's going on, as opposed to losing myself in the movie.

I just made a movie. There's a kind of a banter that some people might recognize as being screwball. There are no cell phones, no DVD playersit's set in a timeless Brooklyn. Hopefully, it's a good, old-fashioned movie.

We met in an airport in Las Vegas, Harrison Ford and I, and he said, "I just finished a movie called 42. I play Branch Rickey. There's this kid in it playing Jackie Robinson. I think it's a pretty good movie."

I think whether you're a movie critic and have seen a million movies, or you're just a normal popcorn movie watcher, you can tell the difference when someone is just laying it on too thick.

Most actors, unless they're big movie stars and can carve out huge chunks of time to focus on one movie that takes six months - the rest of us have to jump around to make ends meet.

We've always loved going to the movies. Our mom and dad are big movie fans. They'd take us on these movie orgys where we'd see sometimes three movies in a day.

When I make a movie, I have both a specific and vague, amorphous dream idea of what the movie is going to be. Of course, I don't actually know what it's going to be, but I'm still striving to get to some place with it.

For me, it was a lot of pressure to make another movie after 'Inglourious Basterds' because I didn't want to do something wrong. I wanted to have a beautiful project for another American movie.

And then to see the whole movie, you're pretty much waiting until the end of production. And the major lifting in terms of editing and all that stuff is done before you shoot the movie. That's an unusual way to work.

Some of the best movie experiences I've had are when I just walked by the theater and decided to see a movie I hadn't heard anything about and bought a ticket, because that's really the first time you can experience it untainted.

The creative process on 'Margaret' was incredibly satisfying. I loved the cast; I had a great time writing the script. I liked making the movie. Believe it or not, I actually like editing the movie. It was all the rest of it that was such a nightmare.

Why does everyone like this movie? And Americans kept going to the movie. So Hollywood figures out the market, and the market wants to know what happened in Benghazi.

When I worked with Woody Allen, I only got the parts of the script that I was in. I was able to piece together the narrative from that, but I remember being quite excited to watch the movie - the movie that I was in but didn't know what happened in, like, 65 percent of.

I'm convinced I was the only kid ever who had a Death on the Nile [1978] movie poster and a Murder on the Orient Express [1974] movie poster on his bedroom walls.

'The Lego Movie' did better than we could possibly have imagined. We were very nervous that people would discount it because it is called 'The Lego Movie.'

Last summer when we were preparing for the movie, I actually kind of wanted to stay fairly uninformed about it. As we went through the process that we do in the movie, I wanted to be a little wide-eyed.

We [with Judd Apatow] started talking about ideas and he said, 'Well, I'm going to do this movie Knocked Up with Seth [Rogen], but after that you guys should do a movie together.' I read it and thought that it was very funny.

The difference between a movie and a play is that the production you end up with is the production. If a movie that I spent time on turns out to be crap, it's never going to be made again.

The movie I worked on that had the most problems and interference came from the smallest indie movie I've ever done. I couldn't believe what the director had to go through; he was destroyed.

If you tried to make a 'Game of Thrones' movie, you'd have to eliminate two-thirds of the characters, and there'd have to be one storyline, but on TV, you can really get to know the characters in a way that there just isn't time to do in a movie.

A movie that I've seen probably the most is 'Fanny Alexander,' the Ingmar Bergman movie. I even dragged my friends to the super long version that had an intermission. I don't know how much they liked me that day.

I believe what really happens in history is this: the old man is always wrong; and the young people are always wrong about what is wrong with him. The practical form it takes is this: that, while the old man may stand by some stupid custom, the young man always attacks it with some theory that turns out to be equally stupid.

I think if you don't feel passionate about the first movie you're doing, in the end the project will lack something because you don't have enough experience to make the movie something special.

A lot of times, I'll resist the temptation to visually define a movie until, one, I really understand just what the movie's about, and two, until I start talking to my cinematographer.

In Providence, we didn't have a first-run movie theater. But we did have an indie movie theatre on the Brown campus. That was the theater we'd go to. I think, as highbrow as it sounds, that I grew up on the films.