Quotes of All Topics . Occasions . Authors
Like many of you, I've always been slightly obsessed with vampires, dating back to the prime-time series 'Dark Shadows,' which I followed avidly as a kid.
Very few fighters get the consideration of racehorses, which are put out to pasture to grow old with dignity and comfort when they haven't got it anymore.
For me, the slower burn is a deeper and more effective scare. But I only like those kinds of scares when they're really earned. I don't like false scares.
All Blaxploitation is, is the opportunity for an African-American cast or lead actor or actress to do the same things that a white action hero gets to do.
I will, proudly and by preference, do at least one picture a year for King Brothers, and I will try to make it the best picture that I have it in me to do
We have to produce a high-quality show, but we have less and less time and money to do it. If you are using the tapeless approach to save money, you will.
For me, 'Pariah' is very much about that inner churn. It's about this person's emotional inner life, and that's really what I wanted to bring to 'Bessie.'
I've been told that I'm incompetent, socially retarded, maladjusted. I still know that I couldn't function in reality. Los Angeles is a good place for me.
I can't wait for them to convert old movies to 3D. I am 100% confident I want them to convert 'Terminator 2' to 3D more than I want anything in the world.
I guess to the outside observer, all my movies look like musty old black-and-white artifacts, but my earlier movies had been more static and tableaux-ish.
For us, when we think about the Middle Ages, it's sort of this rarefied, distant time that we have no connection to, especially if you grew up in America.
People of color grow up steeped in 'white' culture. The reverse is not true. And, no, listening to hip-hop on the way to work does not count as immersion.
That's what I love about writing is you don't need anyone's permission to do it. You can just get up in the morning, grab a pad and pen and start writing.
There's been a lot of successful shows like 'This Is Us,' 'Atlanta,' and 'Insecure,' so, I feel like whenever something works, Hollywood wants to copy it.
I'm proud to carry that torch and be like, 'I'm gay! I'm black! Hang your dreams on me. Hang your hopes on me. I'll carry them to the best of my ability.'
I'm not really interested in the exploding car or endless sort of dystopian fantasies and superheroes. None of that... that doesn't interest me very much.
I owe a great deal of thanks to this man who will be gracious enough to say I've helped him with his career and comeback, but it's every bit the opposite.
I would say 'The Chill' by Ross Macdonald is sort of a prototypical example of how the private detective genre elevates itself to the level of literature.
I think my goal is to find a way to spend all of my time writing. I mean, sort of; true success is I'm doing nothing but writing if I do my job correctly.
[The film Woman Walks Ahead] is from a long time ago. I wrote that ages ago. It looks gorgeous and Jessica [Chastain] is so good that I've got high hopes.
I can't remember my dreams more than a couple of seconds after I wake up. It's frustrating because sometimes I dream that I'm watching a really good movie.
You can't measure a dog's intelligence by giving him a verbal test 'cause it's not on their scale, but that doesn't mean they're not intelligent creatures.
My private joke about 'Luke Cage' is that it's a bulletproof version of 'Lemonade,' and that, essentially, it's a concept album that has a video component.
I'm saying, let's learn to reacquire a respect for the power of guns. This culture is so indifferent and disrespectful of guns that we should be terrified.
I will, proudly and by preference, do at least one picture a year for King Brothers, and I will try to make it the best picture that I have it in me to do.
I'm frustrated with Hollywood and television and the movies because they see science fiction as an excuse for eye candy, for lots of great special effects.
There is an inalienable law. Whenever a character on screen pities himself, the audience stops pitying him. They will cry so long as the character doesn't.
Creatively, I just like interesting characters. So straight, gay, or whatever - like, whatever, wherever the characters are coming from or their lifestyle.
We're not unique. We're quite volatile as individuals, but that doesn't work exponentially when we are together. Relationships are about eating humble pie.
There is also a philosophy of less-is-more, and a little dignity that never hurt anybody. There are many qualities to admire about our father's generation.
A corporation that is publicly traded, it has one goal: to make money. It doesn't have a soul. If it does have a soul, it comes from the people who run it.
While most trudge through their days straight-jacketed in the social compact, living for others as much as or more than for themselves, a select few excel.
My mom is a teacher, my dad was a writer for television, his dad was a writer for television, and combining those two has been sort of the goal of my life.
Every black man in Chicago walks through the world differently, and I think what young black boys do is observe, and that's what gives them their road map.
I think people try to jam a lot of artificial plot devices into a lot of romantic comedies, and they don't treat it with the respect I believe it deserves.
In Scientology, in the Ethics Conditions, as you go down from Normal through Doubt, then you get to Enemy, and, finally, near the bottom, there is Treason.
The thing that I love is human behavior - why people do what they do, who they are, and the choices that they make - and that has to always be plot driven.
Twilight is about getting older and relationships - not about a murder mystery. It's about love when you reach a certain age; nothing is in primary colors.
When you're at the end of your rope, all you have to do is make one foot move out in front of the other. Just take the next step. That's all there is to it
Make movies you love because it's miserable. Every movie I've worked on at one point or another is exhausting, and you feel like you're making a bad movie.
I don't believe that hard work equals success. It can, and maybe it should, but I know that it doesn't. There's a very slight relationship between the two.
There [in Allied] were things that were written that were cut, and things that were shot that were cut, but if the film works, they are erased from memory.
Locke' was sort of myself trying to find out if you could give yourself the maximum number of obstacles to make enough drama and seeing if you could do it.
You're not turning the picture over to a system or a process, you are the process, and the most important thing is to have things exactly as you want them.
I get nervous before openings or premieres or when someone's reading a new script, and I get nervous when my daughter isn't in my immediate field of vision.
Mulberry Street was the beating heart of the Italian-American experience, but you don't find those gangsters now. I live with a bunch of yuppies and models.
I was making love to a man, a man I hardly even know. He was kissing the face off me and I was kissing the face off him. And I found it highly satisfactory.
In my own experience, the scripts that I wrote, if they didn't go within two years and become a film, they never went and no one ever came looking for them.
It's a neat experience to go from the blank page to an actor elevating it to the audience understanding it - the full life of that is why I became a writer.
I think accessibility is what often denies horror its deserved attention. So it all depends on the execution and whether mainstream audiences can accept it.