Quotes of All Topics . Occasions . Authors
My dog's a gentleman.
I really got into filmmaking through photography.
John Goodman's pretty dark - I love John Goodman.
I feel like movies when they work they'll find an audience.
I just love the look of film. But I have nothing against HD.
I got nominated for an Academy Award(R) for writing 'Borat.'
You set the tone on the set that you want to see in the film.
To make a movie about mayhem, sometimes you have to go to mayhem.
Every weekend in history has worked for movies if the movie connects.
You're never nice to your friends. You're nice to people you don't like!
I love confidence in a guy. I don't have it, but there's nothing sexier.
Bangkok, like Las Vegas, sounds like a place where you make bad decisions.
Not every movie has to serve as every audience member's need for completion.
I'm not worried about young people seeing an opportunity and taking advantage of it.
It's all about escapism. That's essentially what all movies are about. It's a vicarious thrill.
All my movies, as I get the ability to do it, they tend to go a little darker, a little darker.
My movies before tend to be just funny. But it wasn't a conscious thing I was looking for at all.
I was taught that you didn't want to be part of the group - that it was better to do your own thing.
'The Hangover' was lightening in a bottle. We're aware of that. It went through the roof all over the world.
Music is just one of the tools a director has with which to paint and I think it's one of the most effective.
I think a lot of American comedies tend to apologize for their bad behavior in the last 10 minutes of the movie.
Directors tend to be more underrated than overrated because it's a quiet job and people don't really understand it.
When I was younger I was obsessed with 'Star 80,' and it's just a great movie - I think I saw it three times in the theater.
When I was in NYU Film School I drove a taxi in New York for two years, I felt like I owned my own business with that little taxi.
I think people like comedies and I think concept driven comedies seem to be working when it's a clear concept and you deliver funny stuff.
I just thinks it's interesting what it takes an actor to find their characters through the wardrobe, or the hair, or the way a character walks.
I don't have a horror film in me just because I don't like to be scared. But I definitely have a documentary in me, and I certainly have dramas.
To me, the script is a living, breathing organism. Comedy is something that is ever-changing and ever-flowing with the vibe and the mood of the movie.
I grew up raised by my mom and my two sisters, so I never had a real male influence in my life. I never really understood heterosexual male relationships.
Reality television hasn't killed documentaries, because there are so many great documentaries still being made, but it certainly has changed the landscape.
There's a punk-rock attitude, clearly, to 'Hated.' There's even a punk-rock attitude to 'The Hangover,' I think. We start the movie with a Glenn Danzig song.
I think that 'Hangover II' is as funny as 'The Hangover I,' honest to God, but I think that it's a little bit darker, and the stakes are a little bit higher.
I think any filmmaker looks back and thinks, 'Boy, if we only had four hours more on that day when the sun was going down,' or, 'If we only spent more time and went back.'
I take it very seriously, music. I think it's one of the tools that a director has with which to kind of paint. The right music can sometimes do five pages of scripted dialogue.
With comedy especially, it feels like such a clear-cut thing to be a writer-director. There is so much nuance and tone in a comedy that it's hard to contextualise it in a script.
There are movie sites that love movies and there are movie sites that are just bitter people that just hate movies. I find Movieline to be in the latter. The tone is bizarrely hateful.
How many days do you have that are just purely dramatic? How many days do you have that are just purely comedic? It's usually a combination and I think that's what real life feels like.
It becomes pretty crystal clear once you watch that first assembly [movie cut] the things that are just grinding it to a halt, so to speak, or slowing it down, or getting in the way, yeah.
I make decisions to do movies based on the cast. I'd just been working with Zach Galifianakis on 'The Hangover', and I was thinking, I've got to find something to do with this guy immediately.
You know, if I started worrying about what the critics think, I'd never make another comedy. You couldn't pick a less funny group than critics - you couldn't find a more bitter group of people!
You're only as good as your body of work, and everybody has issues, whether it's Steven Spielberg or Martin Scorsese. I'm not comparing myself to those guys, but you learn more from the misses than the hits.
Well, it's so cheesy to say but you can't find a comedy director who makes movies for critics. When a movie does $580 million worldwide, I'm not saying that proves anything except people were enjoying the experience.
I never had a ton of male friends and it's always been something that's really interesting to me, what brings guys together? The bonding. 'Old School' is a good example of that. And even 'Starsky' and even 'Road Trip.'
Reality television hasn't killed documentaries, because there are so many great documentaries still being made, but it certainly has changed the landscape. There is this breed of gimmicky documentary that is basically a reality show.
I think comedy directors tend to feel a need to justify the bad behavior, and I just never think that. I like bad behavior, I've always liked bad behavior, I'm a fan of bad behavior, and I don't think you have to justify bad behavior.
There's a darkness under 'The Hangover' because ultimately there's a missing person and it's not really that funny. There's a sort of darkness under it that I love, and still people are laughing as hard if not harder than they did in 'Old School.'
I tend to make movies about my peer group. I couldn't see myself now going back and making a movie about a bunch of college kids, necessarily. I kind of always operate in the things I'm observing around me, whether it's friends having babies now in my life or what have you.
I think reviewers have become particularly venomous because, in a way, the power has been sucked from them. A 15-year-old can write a review on the Internet and it means as much as Roger Ebert's review, and that just makes Roger Ebert mad, so he comes out harder and stronger.
It's heartbreaking when you hear a kid buying a ticket for... I don't know, whatever movie you're up against. And you see them sneaking into your film. It's just heartbreaking. But in the spirit of full disclosure, that is what I did as an 11-year-old sneaking into 'Stripes.'
There's such an awkwardness to most heterosexual male relationships. You see women who are friends, and they kiss each other good-bye, and they're just so much warmer with each other. But there's this thing with guys where, even between best friends, there's a standoffishness.