Sequel Quotes

It's absolutely of no importance who or what V was under the mask. He isn't a who or a what, he's an idea. The thing is, you couldn't continue it. Now and then the idea of a sequel has been raised, in vague forms, but I think it would be a bad idea. The story's finished.

At one point I intended to write precursor and sequel novels, about the establishment of the Web and its next evolution, but I am very unlikely to now; they would take place in a different universe.

With a sequel you're always trying to get bigger and better.

I wanted to play a good guy after doing this lunatic on The Sopranos for two years. And then they did the sequel to Bad Boys, where I get to play the barking captain again.

A sequel is an admission that you've been reduced to imitating yourself.

You sign for a sequel for everything these days, just in case, options. In the past, you avoided them like the plague because it meant somewhere down the road you couldn't take a job because you had to do a sequel. Now it's a feature of pretty much any feature you do.

I'm always the last person they go to with a sequel, because I'm the most skeptical. You know, I'm very proud of what we've done, and I don't want to screw up our series.

I didn't really want to do another sequel. I go to those movies, and I just sort of enjoy them like a viewer.

We had to do the same thing here. To top that sequel was quite a task. Mike had a couple of good conceptual humour and character ideas, which got me back into it.

We all approached doing a sequel with great trepidation and skepticism.

I really don't know why Scarlett has such appeal. When I began writing the sequel, I had a lot of trouble because Scarlett is not my kind of person. She's virtually illiterate, has no taste, never learns from her mistakes.

It's always an enormous pressure when you do a sequel. The demands are so high, and it's expensive.

Though the Jazz Age continued it became less and less an affair of youth. The sequel was like a children's party taken over by the elders.

Every beginning is only a sequel, after all, and the book of events is always open halfway through.

We wanted to do a sequel with Jim and Jeff. They said that the word was that Jim didn't want to do any sequels. We approached him and he said he would do it, but not until next year. New Line said it was too long to wait.

I cannot explain why they made that sequel to Secret of NIMH. Because they claim that it the original didn't make money, so what was the enthusiasm to make a sequel?

The first is that instead of writing a sequel, which is what most people do, this is in fact a prequel. Although we didn't know that when we began the process.

I was thinking about doing another film at the same time, which was the sequel to Basic Instinct and I just had a feeling that wasn't going to happen. You know, I just kind of read the writing on the wall.

You never know in a movie if it's going to be a sequel, but right now I'm proud of what we produced.

John and I had a few meetings about what direction the sequel should take. I made some real insane suggestions. True to what you'd expect, he ignored them all and just picked up Halloween II where the original left off.

And I plan to write a sequel to Dragon Rider.

To do a sequel is so weird, you don't really think about it.

I had a feeling about directing Cocoon II: The Return. At first I wasn't too interested because it was a sequel. Then I read the script and was excited by the relationships and its mystic quality.

The time has mainly gone on getting Inform into a decent shape for public use. I suppose the plot of 'Curses' makes a sequel conceivable when compared with, say, the plot of 'Hamlet' but none is planned.

I'd love to do a 'Sopranos' sequel.

The only reason I would write a sequel is if I were struck by an idea that I felt to be equal to the original. Too many sequels diminish the original.

'Baby Boy' is one of my favourite films, and Tyrese keeps telling everybody we're going to make a sequel. I mean, we have a story right now but we don't know where we're going to take it.

Working with Jim Carrey is an absolute gas. I have never laughed so hard for so long. Had he been on-board for the sequel of Dumb & Dumber, I would've jumped on, with no hesitation.

By definition a sequel can't be original. So you've got to figure out what worked the first time around.

I also know that in the second movie, the sequel, Eric made some huge advances with the robot suit. That just made it even better. You put the suit on and moved your arms then the robot's arms would move in sync with yours.