Top 1200 Tarzan Movie Quotes & Sayings - Page 15

I've always been led to believe that the ultimate goal for an author is the movie deal. Now I understand that the movie deal is merely a MEANS TO A MUCH HIGHER END: NAIL POLISH.

A sister is like yourself in a different movie, a movie that stars you in a different life.

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.

Ghost Team approached me. They said, "Hey, it's mid-October, do you want to go shoot a movie on Long Island for three weeks about stupid people chasing ghosts?" I had never done anything like that before. It's kind of a mock-horror movie. What I didn't realize was the whole thing takes place at night, as a horror movie should, and so I didn't realize that we'd be working until 6 in the morning every night, or morning.

Comic books sort of follow with the move - if people see the movie and if they're interested in the character and want to see more of the character, they start buying the comic books. So a good movie helps the sale of the comic books and the comic books help the movie and one hand washes the other. So, I don't think there's any reason to think that comics will die out.

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.

Every time I do a movie like 'Finding Neverland' or 'Chocolat' or 'Shakespeare' in Love,' we deal with the creative process, but there's humor and fun along the way. I always love that kind of movie.

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.

You live and die two or three times making a movie. First, you write it, and the first pivotal moment comes when you can get it made. The second is in the process of making it, when the movie reveals itself to you, its flaws and its virtues. Then the most unnerving moment is when that movie is then launched into the world. It’s like bringing your kid to the first day at school and somebody points out that it has bowlegs, it is cross-eyed, or it’s gorgeous. You feel very exposed.

I think you should check out 'Battle: Los Angeles' because it really is a sci-fi movie, but it's not. It's not like anything you've seen before. The best way to describe it is it's a war movie that happens to have aliens as the enemy.

Loved 'Get Out,' super good from start to finish. I mean, it had everything you'd want in a movie. It was funny, scary, and it wasn't stupid. It was a smart movie but not in a fussy way. It was so good.

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.

That's the trouble with anything which essentially has a lot of bits that are physically impossible: You're left, stuck, in the studio. And that's a shame. You're making a movie. You don't want it to stay put, you want it to be a movie - to move.

For the movie 'Bhaskar Oru Rascal' I had to let go of a part of my agreed salary and in fact, had to lend money to the producer when he couldn't meet his financial obligations at the time of the movie's release.

I was never a critic. I was a journalist and wrote about filmmakers, but I didn't review movies per se. I make that distinction only because I came to it strictly as someone who was just a lover of storytellers and cinematic storytellers. And I still am. I'm still a great movie fan, and I ,that love of movies is very much alive in me. I approach the movies I make as a movie-lover as much as a movie-maker.

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.

When I was five, a tree was my best friend. An old peppercorn on Grandpa's little farm. I'd haul myself into its calloused arms and hide from the world in its foliage. Apart from the pleasure of looking down on unsuspecting adults, I could be Robin Hood in a one-tree Sherwood Forest or Johnny Weissmuller in his jungle. I fell out of my friend once while Tarzan-ing. Gashed a large chunk from a leg. Almost 70 years later, there's still a scar.

I totally heard by chance that they were doing the casting for a James Bond movie, and that one of the auditions was taking place in Paris. So I tried myself to contact every name involved in the movie I could possibly find on the IMDb!

I do not proactively approach Hollywood, but also I do not always turn down offers. But since I'm living as a movie director, I have a desire to shoot something like 'This is a Hollywood movie!' at least once in my lifetime.

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.

For me, I rarely go and see 3D movies because I feel like, when you're wearing glasses, you're aware that you're in the theatre. And the whole thing for me with the movie experience is to be lost in the movie.

Every couple of years we'll watch the movie and it's like watching home movies, seeing the ranch on-screen. But that movie Heaven's Gate, people are appreciating it more and more as time goes on.

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.

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.

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.

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.

If you're showing people where it's smooth sailing, where is the joke? If you go back to any movie, even a conventional movie, with any comedians, they're either not terribly intelligent or they're not doing something well.

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 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.

If it's a huge tentpole movie, for instance with a movie like 'Tintin,' a year and a half, almost two years in advance, we were developing a videogame campaign and massive consumer products campaign.

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.

I feel like a zombie movie is kind of like the gold to hear movie.

You’ll find that the movie business is paid for by those mega movies. The movie business is paid for by Big Macs. By movies as product. Movie studios use that term “product” all the time. Product? You mean you have a lot of stories? No, we have a lot of product. You have stories.

You don't want to make a movie just to make a movie. You better have a point of view.

I was always a fan of Nic. With his movie, you know it's "A Nic Refn Movie."

Let's face it: Sadness and evil are always more believable than happiness and love. When a movie reviewer calls a film "realistic," everyone knows what that means--it means the movie has an unhappy ending.

The music business is rougher than the movie business. In film you get noticed in a small role, even in a movie that bombs. But in records you better have that hit or else it's 'See you later.'

I would still encourage somebody, if they wanted to make a movie, to just go take a movie camera. That's clearly been shown to work. It's just how do you get it seen?

The idea right now - and it may evolve - would be a live-action movie where some of his characters would be animated. To me, this movie is very much about the creative process.

It's weird because movie-making, and especially movie theaters, have always been so old-school, and it wasn't until 3-D that a lot of them were forced to have digital projectors and even digital distribution.

The first movie I ever cried at was when I was 10 years old and saw 'The Notebook' in theaters. I was like, 'Whoa, so weird. Crying at a movie? I'm not supposed to do that. So weird.' I didn't know that art could make you do that.

Whether it's a movie I'm in or not, if there's a good movie, and it's low budget, and you know everyone's done it just because they were passionate about it and they cared for it, if it has any kind of audience, it's just a wonderful outcome.

There are only seven movie stars in the world whose name alone will induce American bankers to lend money for movie productions, and the only woman on the list is Ingrid Bergman.

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.

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.

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.

There's actually a big difference between story and character. A great story doesn't make a great movie. A great script, which defines its moments and characters can become a great movie. You can make a movie that makes a lot of money and it may or may not have great story or great characters.

I never take credit for my movie's success. I am the face of the movie, but there are numerous unsung heroes behind the scene. From the director, cameraman and editor to the light boy, everyone knows how difficult it is to satisfy the audience.

I never considered myself a movie star, and I didn't want to become a movie star, because as soon as you do, you throw away that possibility of playing character. You really do. All of a sudden you're just an entity, you know?

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.

I think 3D is a great innovation for the film business. But I hope it's not the thing that kills the golden egg because what's happening now is every movie there's pressure from the studio to turn it into a 3D movie.

I figure if kids see a movie about 12-year-olds chopping each other up, they can probably see a movie where everyone keeps their clothes on and doesn't use foul language.

There are movies that we have done that haven't come out very well. That doesn't feel very good. But 'Jem' is in a different category. I'm proud of the movie. I stand by the movie, but I'm obviously sorry it didn't do any better.

But the animation has become very good, and I think that a movie is not a book, and a book is not a movie.

It's such a huge endeavor putting a full movie together, especially an independent movie. I tend to kind of do them when they come my way more than something than I go out and actively pursue.

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.

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.

I know a lot of actors picture themselves winning Academy Awards. I really just wanted to do a Christmas movie because it's the kind of movie that I really love to watch. I'm a sucker for the holidays.

The movie was kickass, which was appropriate, because tonight it was called Kickass: The Movie.

If I was one of the leaders...if I was just a leader of one of these studios what I would do is I would go to all my cohorts who run other studios and say let's make a deal. Let's each of us make three 3D movies a year or whatever the number is. Let's not take every movie and make it a 3D movie. Let's take our three tentpoles or whatever movie it is so you have a specialness to it.