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I think audiences ultimately want something new. I think the business model for a franchise is such that it's very low risk because you have data and studios love data.
: There are only two on-buttons for fear, in any permutation you want. One is when something that shouldn't be is, meaning a presence. And, the other one is an absence.
The other thing that I started doing for myself was, I went through my diary of ideas that I keep and made sure that the translation of the comic to the movie was good.
There are many talented people who haven't fulfilled their dreams because they over thought it, or they were too cautious, and were unwilling to make the leap of faith.
If you read about the astronauts who went to the moon - the 12 who walked on it, and the others who orbited - all suffered serious mental trauma of one kind or another.
The conventional wisdom is that people come to the United States, and immigration is so great, and they say, 'America, what a great country.' And a lot of that is true.
Fake feeling good.... You're going to have to learn to fake cheerfulness. Believe it or not, eventually that effort will pay off: you'll actually start feeling happier.
I had to choose between American and British actors, and it didn't take me more than a second to decide: Russians are Europeans and should be played by other Europeans.
When I left Ohio when I was 17 and ended up in New York and realised that not all films had the giant crab monsters in them, it really opened up a lot of things for me.
Maitre D' : I appreciate your understanding. Ferris: Don't think twice. It's understanding that makes it possible for people like us to tolerate a person like yourself.
I don't approve of censorship. I like the French theatre idea. Put on the play, and if the audience doesn't care for it, or feels offended by it, they rip up the seats.
But what's interesting is now - and not only in horror, but across the board - the studios basically only make B pictures with A budgets. That's the biggest difference.
When I started my goal was to make a successful underground movie. I started making movies in the mid-60s. Underground cinema then only lasted about two or three years.
I've gotten scholarships from the Asian-American Directors Guild of America society and things like that, and those things helped me, even if I didn't realize how much.
The history of fossil-fuel development has always been that certain people are expendable. What's changed is that new, larger populations are now considered expendable.
You want to have pressure and tell stories that you find a real reason to tell, aside from any business reason. If business is your only reason, that always goes badly.
I grew up in the working class suburbs in the 80s so I do love Hollywood movies but what I don't like is when they take something that's successful and they recycle it.
Everyone at a performing arts schools is weird. The weirder you were, the better. If you weren't weird in some way, they'd look at you and be like, 'Who's that square?'
When we made 'Toy Story,' journalists were more interested in talking about the technique because it was so new and unknown, and we just wanted to talk about the story.
My mum says I was the best kid ever; you could put me in a corner with a box of paints and I'd be happy for hours. They'd say, 'Lynne, Lynne,' and I wouldn't hear them.
I remember with 'Ratcatcher,' in the script it was beautiful blue skies and sunny every day, but it rained constantly. You have to go with what the film is going to be.
There are girls, not specially beautiful, whom you could not lose in a crowd. There are other girls, apparently perfect in beauty, who seem to melt into insignificance.
Rhetoric does not get you anywhere, because Hitler and Mussolini are just as good at rhetoric. But if you can bring these people down with comedy, they stand no chance.
I find, surprisingly, that actors are liberated in their work if there's stuff going on around them, because they can't think too much about who they're supposed to be.
There's nothing universal about Indian families except that the family itself is deeply important across the country. It's sort of the fabric and anchor of our country.
I've always loved the future. But I must say the future changes a lot quicker than it used to. An era used to last thirty or forty years - now we're lucky if it's five.
Financially, it was very successful. Which is the most important thing. That is the only way you get to make another movie. It's very simple. The market will value you.
This myth that America has this atomic bomb that makes us right, it makes us good, it makes us set the agenda for the world. Everywhere, we can go global, we determine.
Most marriages I've known, and I've been married a long time and I've known a lot of married people - you wonder how they got together. Often they seem to be opposites.
Every time I go to Japan and meet Capcom it is like going to see the Umbrella Corporation. You ask them things and they won't give you a straight answer about anything.
I always run the stories by Capcom. They read the scripts and give their comments. I would never want to kill a character that they really want to use in the next game.
There's something incredibly tragic about Kong. You feel almost feel ashamed to be a human being when you see what happens to him. I mean he is ultimately a pure-heart.
History is only conjecture, and the best historians try to do it as accurately as they can. They try to accurately reassemble the facts and then put them down on paper.
As soon as you're at the higher levels of budgeting, you've got to get the film made, and the only way to support the film is to have actors who can support the budget.
I was a cartoonist when I was at university, but I decided to go into movie making knowing that I could still draw by doing movies, design work, story boards, and such.
In my films that I've directed, and my work in commercials and videos, I've rarely used handheld. It's just not something I'm drawn to, but I've seen it done very well.
I think it would be very boring dramatically to have a film where everybody was a lawyer or doctor and had no faults. To me, the most important thing is to be truthful.
Do the Right Thing' was my first union film. I looked at the rosters, and for the most part, it was white males. Especially the Teamsters. So we had some conversations.
Right now a lot of people are still choosing to go to Toronto instead of shooting in New York City, something I haven't done and something I hope I'll never have to do.
The essence of what it is to be American is the deep moral urge to be free, to freely express yourself and have the right to do so, and to look at all people as equals.
Because television doesn't offer the kind of budget that a movie offers, you've got to be a little more careful where you spend the money to put the fiction in science.
I mean, certainly writing, painting, photography, dance, architecture, there is an aspect of almost every art form that is useful and that merges into film in some way.
I'm not in front of the camera, they are. I encourage them; I build up as much of their confidence and ego as possible. They've got to take control; I can't act it out.
I think that's what I love about glam-rock. It invited you to participate. It asked you to change yourself in all these different ways, or offered up all these options.
Well, yes, as I was a rather bad actor then and I wasn't making enough money, I thought, to make enough money to not make money as an actor, I'd better do some writing.
It happens sometimes that the material itself carries things you have not fully planned. The footage has its own right, its own life, its own vibrancy and energy in it.
Within the structure of 'Scream 4,' there is the film within a film, but that's been part of the 'Scream' franchise since 'Scream 2,' when you had the 'Stab' franchise.
If you catch me coming out of a film, when I'm emotionally involved, I can tell you at that moment why I like it - but to talk about it years later is not logical to me.
There was a lot of stuff [in Rock of Ages] that had effects in it and I thought it was too smooth. I thought it would be sexier if it were in-camera cuts. So I did that.
There are all sorts of inventive ways to get your film out there: sometimes via the Internet, sometimes via viral screenings in people's living rooms across the country.