Movie Quotes

I think we're tremendously different than the series, if they were to tune in to the series after seeing the movie they might be disappointed. That there was, you know, that they might have some kind of adverse reaction.

I have to admit that when I watch a movie in which there is no moral context for the violence - I find that offensive. I think that's potentially damaging to society.

There are certain rules one must abide by in order to succesfully survive a horror movie.

It would almost need a Mafia-like offer I couldn't refuse to do another movie.

I feel I belong in the movie business and I belong in the security business. It's a natural for me.

When I am working on a movie, all I want to talk about is the movie. All I want to be with are the movie people. It's like a clan. If I'm asked to people's houses for dinner, I hate to go, because they'll talk about other things.

I never felt being an actor or making a movie was an easy thing to do.

And I'm auditioning right now for a movie, and then I have a script that I'm reading right now for a horror film, and I'm meeting for a couple of television shows that I just had yesterday, and pretty much was offered one of them.

Things get very distorted when you do a movie, weirdly so.

You know, OJ was a really nice guy, and he knew his lines. He was nice to everybody on the set. He got to be a better actor, I thought, with every movie.

I've always lived out of a suitcase. I was in a new city every three months. When I was a model, I traveled the world, and as an actor you're traveling from movie set to movie set. So I've never been in one place long enough for anything super-bad to happen.

It's embarrassing, isn't it? It took me 15 years to make an 18-minute movie.

Very often with an American movie, the end is very happy and you just feel good when you go out. When you go to a French movie, it's kind of like, oh!, and you can't go out; you're stuck in your chair. It goes so deeply inside of the heart.

How do you shoot a 150-day movie? You shoot it one day at a time.

Building a house is like producing a movie. There's no right way to do it but a lot of wrong ways. You have to be flexible and creative. You have to move fast, be prepared - or it quickly becomes costly.

Now is a good time, 10 years ago would have been a good time, and 10 years from now it will still be a good time to see a dynamic, entertaining movie that's wall-to-wall Miles Davis where the music will hopefully spark some desire to know more about the man.

I've had some amazing people in my life. Look at my father - he came from a small fishing village of five hundred people and at six foot four with giant ears and a kind of very odd expression, thought he could be a movie star. So go figure, you know?

The journey of your first movie is not just beyond belief it can be truly beyond satire.

Netflix, Amazon, iTunes - whatever platforms emerge - we are looking at as having the same potential that home video had for the movie business. Which means there are entirely new opportunities to monetize our capital investment in content and do so in ways that work for distributors, for consumers and for creators.

What's happening to movie critics is no different from what has been meted out to book, dance, theater, and fine-arts reviewers and reporters in the cultural deforestation that has driven refugees into the diffuse clatter of the Internet and Twitter, where some adapt and thrive - such as Roger Ebert - while others disappear without a twinkle.

I'm from Chicago, my family started a chain of movie theaters in Chicago that were around for 70 years and then one of them became the head of Paramount and the other was the head of production at MGM and we all came out of Chicago.

I met my wife and, for the next ten years, we did no films at all. She did the first movie and then I did several after. My first movie was written by Tennessee Williams and directed by Kazan and was called Baby Doll.

What the hell did I do in the 80's? Midnight Run. A perfect movie. Just a perfect movie.

I've always wanted to do a space movie.

I couldn't say no to jobs and I couldn't say no to drugs. I'd get high from a movie, I'd be somebody else because I didn't particularly like me, so long as I had a script in my hand, I was okay. As soon as the movie was over, I didn't know what to do.

'3:10 to Yuma' was one that I just kept on talking and thinking about after reading it. And I think the reason is because, like in most Westerns, you have the very clear-cut bad-guy/good-guy, however, as the movie progresses, you kind of see that it's a very fine line that divides these two.

If we have a great idea, we'll go, 'Oh, this could be a cool movie.' Or really for us, it's more like, 'Oh, this is a really bad idea. Let's do this. This seems really stupid.'

I could be making a lot more money now if I had chosen a different kind of movie, but none of that matters to me... I've done the parts I wanted to do.

He was so excited. He cut out pictures of these landscapes and neighborhoods and kind of really tried to give you a feel of the movie. It was kind of cute but at the same time it really showed his enthusiasm for it.

And the insidious thing is that people will either see a movie because it did well last weekend or won't see it because it didn't do well.