Top 1200 Tarzan Movie Quotes & Sayings - Page 18

If you're going to make a movie for ten thousand you can talk everybody into doing it for free. You could make a really good-looking movie right for ten grand, if you have an idea.

It's very eclectic, the way one chooses subjects in the movie business, especially in the commercial movie business. You need to develop material yourself or material is presented to you as an assignment to direct.

The pageant movie I'm obsessed with is 'Miss Congeniality', hands down! I could quote everything from that movie. I love so many scenes, but I always find myself quoting the scene when Sandra Bullock goes, 'I really do just want world peace!'

When you fall in love with favourite movie stars, it's not because they're movie stars and unattainable, but because they show you sides of themselves that are extremely personal.

You know, making a movie is a collaborative effort and sometimes all the ingredients don't work out. I know that every now and again I am going to make a movie that won't work.

I don't think you go to a play to forget, or to a movie to be distracted. I think life generally is a distraction and that going to a movie is a way to get back, not go away.

Every movie is a road movie. Every novel is a mystery. Every tortilla chip is sacred.

If we got $100 million dollars to make a movie, I don't know if we should be making a $100 million dollar movie our first time out.

The power and influence of a movie star is curious: I didn't ask for it or take it; people gave it to me. Simply because you're a movie star, people empower you with special rights and privileges.

If someone puts up $100 million on a movie, they're gonna be concerned about whether they'll get it back. So they're not gonna make a movie about three girls, you know?

I love my iPad. I'll see television shows that I have missed and I'll download them through iTunes. If there is an older movie that I want to watch right away, I can download that movie and watch it.

'Hustle & Flow' came out, and I was really rooting for 'Hustle & Flow' because, you know, it was a hip-hop movie, and it was a good movie. It was well acted.

I have a family. I'm married. I'm very, very happy. I wanted to make a movie for my wife and a movie that speaks to what it is to be in a long term, very, very committed relationship because at the heart that's really what it is.

I don't think every movie should be in 3D. I hope the Coen brothers don't do their next movie in 3D. I don't think they have any plans to.

People say I pay too much attention to the look of a movie but for God's sake, I'm not producing a Radio 4 Play for Today, I'm making a movie that people are going to look at.

I don't want egos and personalities on the set that make it more difficult to make the film. I don't want people who take the focus away from the movie and the ideas behind the movie.

I don't like when you necessarily know that this is the end of the movie. I like when a movie ends abruptly. You go through this, and some of the scenes are uncomfortable, and some are funny - and then suddenly it's over.

I think 'Death Race 2000' is a classic, but it's a classic from the 1970s, and I think it's a particular kind of drive-in-exploitation movie satire masterpiece, and it was very much a movie of its time.

Everyone in the movie industry wants to win an Oscar. I don't think that's why you make movies. But winning an Oscar is not just about making a great movie, unfortunately. It's also having a good Oscar campaign.

I used to come down from New Rochelle and go to Radio City. They'd have a floor show and a movie. I'm showing my age, but I saw 'Cat on a Hot Tin Roof' and 'Broken Arrow' with Jimmy Stewart. It was a great way for a kid to see a movie.

Most of the time when you see a movie, the best character in the movie is not "the guy," it's the guy next to the guy.

Everyone looks at our films and thinks that we are somehow able to make movie after movie that does well and is entertaining, but there's an enormous amount of work that goes on under the hood and an enormous number of mistakes that are made along the way.

It's funny, people don't think of 'Cloverfield' as being restrained because it's a handycam movie, but the only reason it's a handycam movie is because that was supposed to be the reality of the situation.

It's not right to say that only girls get emotional while watching a movie. I have seen so many men connecting with a movie so much that they get emotional.

A lot of movies are made, but because they come to film festivals and your movie doesn't get bought by a studio or a distributor, your movie doesn't get seen.

I just want to learn as much as I can, and that comes from the people I surround myself with. So whether that is on a one-million-dollar movie, or 100-million-dollar movie, it doesn't really matter.

I'm my own artist, and I see artists as movies. No one should try to change them for anything. If you don't like it, you just don't follow it. And if you don't like a movie you don't watch it. Watch another movie.

I really love 'Soapdish.' I wish 'Soapdish' had more of a moment because I felt that that is a really strong, funny movie. Kevin Kline is hilarious in that movie.

The funny thing about my films is that you can make little piles of them. You could make little piles of the movie that were family movies, you could make a little art movie pile, you could make a little action movie pile.

I'd always hoped to write the story as a novel, but there was a long period when the [Bridget Jones's Baby: The Diaries] movie was stalled and in confusion. I felt frustrated creatively, and just couldn't work on the Baby material till the movie was sorted out.

People think if you're a movie star, you're the boss. But first of all, I'm not a movie star, I'm in a very different place. I'm not looking to do what I want - I am looking for what we can find. It's a creative process.

The same way that I know that I'll never do a movie as good or as celebrated as 'Forrest Gump,' I know that I'll never do a movie as bad as 'Bonfire of the Vanities.'

I was watching 'Sabrina the Teenage Witch' - the episode where Sabrina and her friend make a vampire movie for college. I wanted to see if it would be fun to make a horror movie.

If I thought of myself as a movie star, I'd be an idiot. I don't know anyone who thinks like that. I don't even know movie stars who think like that.

Large corporations have the ability to distract people with controversy that just distracts people from what's great about the movie or what works about the movie.

I did do a war movie, 'Windtalkers.' That was a lot of action. But once you've done one big action/war movie, you don't need to do another one.

Okay. I picked up a movie to watch tonight. You can watch it with me if you like. It's a chick movie. Merri Lee said that means girls like it, not that there are small birds in it.

I had wanted to be a movie star and had thought I would be a movie star since I was very little. It was just something I saw in my future. But somehow when it happened, I wasn't ready for it.

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. None of us were really known then, as well. It felt like a big deal, at the time.

'Breakfast at Tiffany's' isn't a great movie because Audrey Hepburn is brilliant and everyone else isn't. It's a great movie because everybody is fascinating, and she is at the center of it being amazing.

There's a saying in the movie industry that if your movie is about what you actually think it's about, you're in big trouble. I think it's the same with books.

I do a lot of teen shows and voice over work for animation, so when I got the part in 'The Number 23,' it was really cool because now I get to be in a movie with Jim Carrey. Acting in this movie was really a learning experience for me.

A lot of times the character's experience is not in accordance with the tone of the movie and it's not really my job to account for the tone of the movie. That's the director's job.

Well, I think 'Addams Family Values' is definitely a gay icon movie and definitely a drag queen icon movie that no one ever talks about.

I've never been bothered by proximity to special effects and I've never felt disadvantaged by them. They're all part of a movie, and when the movie's under control I don't feel upstaged by them.

It was a different job in that, because it's a 'Star Wars' movie and I'm a droid in a 'Star Wars' movie, people have a reverence for those characters that have come before me.

Everybody says, 'You impress me as a guy who never wanted to be a movie star.' I say, 'Everybody in the world wants to be a movie star.'

The great thing about an anthology is that each year is its own 10-hour movie, and the only requirement is that it's the best 10-hour movie that I can make out of the story.

Lee Marvin was there at the same time, and I knew obviously it was his movie [Emperor Of The North], and Ernie Borgnine was playing the other part in the movie.I met Marvin there at wardrobe, and he said, "What are you doing for lunch?" I said, "Nothing." He said, "C'mon with me!" And he took me to the commissary. I walked into the commissary with Lee Marvin at 20th Century Fox, and he introduced me to people. He said, "This's Keith Carradine. We're doin' this movie together." He was so cool. I mean, my God.

If someone was making a movie about F1 in the last six months, they wouldn't need to add a Hollywood ending. If they do make that movie, it's got to be 'The Curious Case Of ,' where I've lived my life backwards. I'd like Johnny Depp to play me but he wouldn't be quite right.

TV acting is so extremely intimate, because of the peculiar involvement of the viewer with the completion or "closing" of the TV image, that the actor must achieve a great degree of spontaneous casualness that would be irrelevant in movie and lost on the stage. For the audience participates in the inner life of the TV actor as fully as in the outer life of the movie star. Technically, TV tends to be a close-up medium. The close-up that in the movie is used for shock is, on TV, a quite casual thing.

We do have a problem in this country. You can either make a movie and ignore that, or you can acknowledge it and say, this is the water that we're living in. You know this - the movie lives in this - it's centered around this particular problem, and I chose to acknowledge it.

The movie that scared the hell out of me was 'The Blair Witch Project.' I can't remember another movie that scared me the way that one did.

You can do crap work in a big movie, and it does good things. You can do great work in a movie no one sees, it does nothing. That's the way it goes.

The first movie that ever scared me, I feel like it wasn't a scary movie. I feel like it was 'Dennis the Menace' or something.

When you are in a live-action movie, you have so many more options to express yourself. You can use your body and your gestures and facial expressions. When you are doing an animated movie, you really only have your voice.

I love the idea of making movies that kids and adults can go to together and both get something out of it, and not just, 'Oh, I've got to take my kid to the movie because they want to see the next, you know, 'Hannah Montana' movie or whatever.'

I can't make a choice to do a movie because people will go see it. People look at what a movie becomes and decide if they'll see it.

Every two, three years there is a movie about the Holocaust because they want you to remember and they want you to be reminded of what it was. When was the last time you seen a movie about slavery?

A home movie of a fictional home life, an epic assembled from vignettes, 'Boyhood' shimmers with unforced reality. It shows how an ordinary life can be reflected in an extraordinary movie.