Quotes About Movies

In America, people really love movies here and it's part of the culture. Even in Germany, still sometimes, the theater is always bigger than movies. It's more art. Movies are more popcorn. Here, movies are really an art form.

I think one of the reasons that Steven (Spielberg) and I have been as successful as we have is because we like the movies. We like to go to the movies. We enjoy movies and we want to make movies like the ones we enjoy.

I think I'm pretty committed to staying. I'm not committed to not doing big movies, but I am committed to continuing to make smaller movies, not for the sake of making smaller movies, but because I think it's really invigorating to just go work with people and know that it might be awful.

There are movies that require fantasy and slightly more fantastical acting. Lines that are good for certain movies, in real life circumstances, would be absolutely unbelievable things to really say, and you would look at these people like they're freaks for conversing that way. But somehow for certain styles of movies, it works, and it seems fine.

You see that a lot in movies, and today you see it more in movies that are made, because I feel more movies are made towards groups than towards individuals, and they're made more for mass media than for sitting in a movie house allowing it to happen.

I think I am too old to be doing teen movies. I am just kind of annoyed, because you have all these teen movies coming out with usually either Lindsay Lohan or Hilary Duff doing four of the exact teen movies over and over again.

To me, comedies are usually the least funny movies. Movies that are actually a comedy are usually not all that funny. To me Goodfellas and Raging Bull are two of the funniest movies I ever saw.

When you make movies, I find that I never have time to go to the movies and enjoy movies like I used to, because I'm so movied out, right, I'm so filmed out that the last thing that I wanna do is with the little spare time that I have is stick in a dark room and watch more stuff on the screen.

Growing up in the Philippines, I loved all kinds of movies. We had a very healthy film industry there when I was a child. It's now gotten very limited. They only make action movies and hard-core exploitation movies. Women get raped; men get shot.

It’s funny, I started by making fake American movies, The Transporter and stuff like that. I was shooting in France, but everything was in English. But then afterwards, I was looking at real French movies like the Jacques Audiard movies.

I think sport in general affects what people see in movies. I always try to explain to people in Hollywood that we have to make movies more like sport because, in sport, everything can happen and it's so much better than movies in some ways.

The Czech movies, the quality movies, are trying to show the life in the country as it is, in an entertaining way, while in America, the majority of movies are wonderful fairy tales.

And usually the studios they don't want you to have credit for your movies because they want to take credit for the movies because if you get credit for your movies they've got to pay you more.

I guess you get pigeon-holed in Hollywood, but I'm ok with that because I've been able to do a lot. I started in the theater, then I went to stand-up comedy, and then when I went into the movies to do comedy and drama and big movies and small movies.

These so called Popcorn movies, or family movies, actually provide something quite beautiful and something quite necessary, which is a family bonding experience.

The movies had a slogan at the time, to distinguish themselves from TV, that said 'movies are better than ever.'

Most people are interested in seeing 27-year-old women who are in movies somehow connected to sex. It's interesting to everyone. Especially little movies that are having trouble getting made, there's always sex.

I think movies are expressions of our imagination; they are expressions of our conscious and of our subconscious. I think that movies can be analyzed the way dreams are analyzed, and sometimes I feel that the viewers or the journalists I discuss the film with are psychoanalysts who are trying to make sense of my dreams.

You have formal rehearsal, a lot of things you don't have in movies - which is, you have to formally rehearse. You have to know your back story, discuss it, and almost everybody onstage has to know each other's [story], so that when it comes time to actually do it, you can throw it all away. That's the way I like to - and I didn't realize until very recently - that's the way I like to prepare for movies.

You want to know about a certain period and what happened?-You go into this building and all of a sudden you are transported! You're not just shown pictures, not even 3-D pictures, not even movies, but suddenly you are transported live by a time machine to that very time, that very age and you see it happen, you watch it happen, you hear it happen, you feel it happen! Think of it! Not only the movies but the 'feelies'! You are there!

A movie is better than real life because in the movies only the bad guys die. Or you can pick the good movies where the bad guys die and only those. If you get tricked and a good person dies in the movie then you can rewrite it in your head so the good person lives and the part about death is superfluous.

I love pre-code movies. Some of my favorites are movies with Warren William and there is an MGM film called "Skyscraper Souls" which is the best Warner Brothers movie that MGM ever made.

People wrestle sometimes making movies, and I think that conflict is a very essential thing. I think a lot of very happy productions have produced a lot of very banal movies.

I tried [being a mogul]. It bores me. I don't really want to produce other people's movies. Because they're either grown-up filmmakers like Steven Soderbergh or Kathryn Bigelow that didn't really need me - and I've produced both of them. It's fun to sit around with them and be collegial, but they don't need me. They can make the film without me. I make my own stuff. There are tons and tons of other things I'm interested in that have nothing to do with movies or are documentary projects.

One of the things I always underscore when I teach criticism is that young critics, or would be critics, frequently have this illusion that if they write about music they're somehow part of music, or if they write about movies they're part of movies, or of they write about theater they're part of theater, or write about literature. Writing is a part of literature, we belong the species of literature. If you add all the music reviews together that have ever been written, they don't create two notes of music.

It's cool that people enjoy my work. That's fun for me that people, like going to my movies and enjoy all the hard work that everyone put into it. I think that's the biggest reward, to know that everyone enjoyed the movies with me.

Boxing is not coming back. There's not going to be a new Ali or a new Tyson. What's happened to movies is happening to boxing-that is, too much availability of alternative, similar entertainment. Movies started to become diluted with the advent of television; that has been mirrored by the dilution of boxing, with kickboxing and absolute, extreme homicidal fighting.

I love superheroes and I love weird horror films... I could definitely feel that there was a lack of movies like The Martian being made: smart genre movies that can appeal to adults.

Filmmakers need to give the audience that something extra, an incentive to spend money and go to the multiplex - the ticket prices are high. Otherwise they'd just stay home, buy DVDs or download movies. But if there were only big budget movies it would be impossible for the film industry to survive. So I emphasize the importance of mid-range films. But those films need the support of theatre owners. The theatre chains have to have the vision to realize the need to support smaller films for the growth of the domestic film industry.

I've made quite a number of movies that I've never even seen and I've made some movies that I thought were good that nobody saw... Sometimes they end up on television.

Well it kind of is project to project because as a writer I think you always write to some degree about things that you know or things that happened - but my favourite filmmakers, my favourite movies of theirs tend to be the personal movies.

Sundance is a really special place. They're very protective of movies, especially lower-budget movies.

I look at movies, unfortunately, and I still see a lot of movies [lacking diversity].

I don't know how much movies should entertain. To me I'm always interested in movies that scar. The thing I love about JAWS is that I've never gone swimming in the ocean again.

They say the movies should be more like life; I think life should be more like the movies.

I was born in Paris in the mid-1960s, and by the time I was 12 I had started going to the movies by myself. Most of the movies of that period never appealed to me. I didn't like the 'naturalism,' the sad or the 'down-to-earth' characters. What I wanted from film was fantasy, dreams, funny situations, extravagant decor - and beautiful women.

It's a fact that kids watch TV. But if you think back, when you watched cowboy movies, you would go out and play cowboys. TV and movies motivate people.

I think it's dynamite, the way my career has just kept moving, even when people didn't know it did. I made such interesting films, but, yeah, they're not necessarily the big movies that go to the supermarket. I don't need those movies, because I don't wanna do them.

That dude Stephen Falk that created You're The Worst, he used to work on the show Weeds, and we sort of came across each other then because he's a fan of podcasts, and he would listen to Doug Loves Movies. And then I auditioned for a part on Weeds and didn't get it, but it was an episode that he had written, so it was his idea to bring me in.We just sort of kept in touch. And then eventually, he and other cast members of You're The Worst were guests on Doug Loves Movies.

We don't do movies for the industry. We do movies for the fans, for the people. If the industry give you a trophy or not, or pat you on the back or not, it's nice, but it's not something you should dwell on.

If I read a script and the subject stays with me - then that's when I want to go to work. Before, I was very addicted to being on set, and I was doing three or four movies a year for many years. Now, fortunately, I can go to work only when I am passionate about a project, and the rest of the time, I can live my life. I'm not interested in doing movies just as a marathon. When I go to work now, I have much more to give. But the other way, you get empty.

The truth is, I've made about 30 movies in 30 years, and I've been criticized for 30 years for not making more movies.

It's all about commerce. Movies are not made like paintings, where you can make them for free and put them at the side. Movies are supposed to make money.

What I like about the '60s movies was that they were about women. They were telling women's stories. I think a lot of movies don't tell women's stories anymore.

I think everyone agrees First Contact was our best film, and even at that, they're kind of... I don't know, they're sort of movies. But they're kind of really Star Trek movies, if you take my meaning. It's hard for me to say. I was glad to be doing them. Whether they were good isn't really up to me to determine, and it doesn't matter what I think. I thought we had a really nice script on Nemesis, and the audience didn't seem to care for it, so what can you do?

I think we all live dichotomies. I'm a father of three boys and a loyal homebody sort of husband and father. And yet I act in movies and write and direct movies.

I think one thing that always attracted me to movies was the personalities. I went to movies not because the stories necessarily appealed to me, but because of the people in them.

I'm a small filmmaker, making my small, low-budget movies, but I'm super lucky to know that everybody reacts differently to my movies. That's interesting.