Quotes About Movies

The earliest movies that I loved were French movies and Italian movies. I grew up watching those kind of movies and often find the truest looks at human nature - you can find them in another countrys movies.

I grew up on certain movies, particular movies that said something to me as a kid from Missouri, movies that showed me places I'd yet traveled, or different cultures, or explained something, or said something in a better way than I could ever say. I wanted to find the movies like that.

I think there are things that aren't represented in movies that are a big part of everyone's life. We romanticize everything about people in movies. One of the things I don't like in movies is that people feel alone with their bodily functions in the real world, as if people in the movies don't do these things.

Years ago I was in a band called Two Lane Blacktop - we deliberately named ourselves after the 'Two-Lane Blacktop' movie, 'cuz it's a car chase movie. All our songs were based on movies, every single song. I love movies, and that was something that me and the singer in Two Lane Blacktop bonded over - we were design students together, we did a film-class together, so we became obsessed with movies. It's followed me around ever since then, it's a constant theme.

I've been escaping my whole life. Since I was a little child, I escaped into the movies on the other side as an audience member. I escaped by going into the movies and sitting in the movies all day long.

You could do much more in movies than you could on TV, and even movies were heavily censored. But in television, the areas of timorousness were fairly laid out. Race relations. Sex. Politics. There was a whole conglomeration of taboo themes. And even to date, though television has become a much freer medium, it's still far less free, far less creatively untrammeled than are the movies. They're infinitely more adult in that respect.

I watched a lot of pot movies before we did this [Pineapple Express]. My favorites were always the characters in movies that weren't necessarily in stoner movies.

I made a body of work, which was like trying to make movies on a wall and was made up of all different images and materials. I had the aspiration to make movies because I thought that was the cycle. I had this insane egomaniac idea that I could make movies because I made these gigantic art projects.

I have done many movies that people hadn't seen. 'The Fountain,' I spent a year on that. 'The Prestige' with Chris Nolan, and 'Australia.' From my perspective it's very satisfying. Some movies people see and other movies they don't. 'Wolverine,' 'X Men,' I know that in some level people know me just for that and it's fine for me.

And being as I'm somebody who loves movies like The Machinist, I also love going along to big mass entertainment movies. I get in the mood for all kinds of movies, and so I like to try each of them.

I'm not a fan of action movies. I don't watch many action movies, I don't have a lot of references except for 70s action movies or cinema noir.

Of course you're nervous, but we're really excited to be able to share what we're going to share. And it's cool, because what we're going to be doing, I think for fans especially, we think is really cool, because part of the process that most people don't ever get to see [is] that before these movies are movies starring photo-real apes, they're movies starring the image of Andy Serkis and the other actors, who are playing apes.

If you deconstruct the movies that have done well, Pixar-type movies that do incredibly well and make hundreds of millions of dollars, they have a strain of decency and conservatism that maybe even their filmmakers don't even recognize. Yet, we cross our fingers that by mistake, liberal filmmakers and liberal producers are going to by mistake make conservative movies. We have to become invested in it, or else we have no excuse to complain.

I love Hitchcock movies. I took a Hitchcock class in college, so I saw all his movies. I wrote papers on his movies.

We've grown up with American movies. Not to say that American movies - or movies that have been based in Watts, Compton, or Inglewood - are a 100% true depiction of that world. But also you have inner-city London, and the foundations are pretty much the same. Especially me, growing up in Southeast London, in Peckham.

I feel like there's a randomness in real life that too many Hollywood movies just shave off. It feels too intentional, and life just isn't that intentional. I like popcorn movies. I like entertaining movies. But, I feel like I could do something more in the real world.

I have 236 movies on my queue and I feel like I should always be watching movies. Like if I wake up in the middle of the night and don't fall directly back to sleep, I'm like, 'I've been up for an hour and a half I could have watched 'Toy Story 3' by now.' In this economy it is a sin not to be watching movies when you have Netflix.

I also wonder why is it that so many of the movies and books that are detective stories are also the most aesthetically interesting? From Hollywood noirs to horror movies like The Shining [1980].

Write comic books if you love comic books so much that you want to write them. Don't write them like movies. Comics can do a lot of things that movies can't do, and vice versa.

I have a tendency to think that that stereotype of American movies and Hollywood movies doesn't exist. Of course you have the studios that have a very hard policy upon their artists, but then I haven't really been doing any real Hollywood movie yet.

I don't know if I see myself as really an action hero, but I like doing physical movies and I like doing movies where the writing is very lean.

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.

There's always been violence in movies, and there will always be violence in movies. Whether it lends to the one psychotic that's out there, thinking the worst thoughts you could possibly thing, is always going to be a mystery.

It was a pity that movies and live TV left New York for Hollywood. London theater, movies, television - until (Britain's) money ran out - were always better than ours since the city was the political capital of the country, as well as the artistic and literary one. In L.A. we've always been slightly sealed off from real life. It's no accident that two of our most interesting directors, Woody Allen and Bob Altman, are more or less settled in the real world.

Maybe you know it but it's not so easy to finance movies in total. And the reason I am able to do these kind of movies is I have a tax shelter fund in Germany, and if you invest in a movie in Germany you get basically fifty percent back from the government.

I stopped reading reviews about my own movies. I read stuff about other people's movies.

In Chile they have no movies. They have awful popular movies. I am not a Latin American creator.

We live in an age now where people go to the movies and, even the biggest movies are in the theaters six, eight weeks and then gone. And then for the rest of time now people are watching them on their phones, or computers, or TVs. And that's how the films gonna live.

The studios are never going to make $200 million a picture with those types of movies. It's not familiar to them, and it's not a model that can necessarily be sustained. Now, if they go back to making movies about people ... well, I hope they do that.

We need to see men and women as equal partners, but its hard to think of movies that do that. When I talk to people, they think of movies of forty-five years ago! Hepburn and Tracy!

I hated Shallow Grave, that movie made me angry. And I hated Happiness. I generally hate movies that use extreme violence or gratuitous shock value in place of having a heart. For example: movies that combine extremely sadistic violence with humor I find offensive.

I like all of the mental, psychological thriller movies too. I enjoy horror movies across the board.

All those years I had been making movies because I loved movies, and that's what made all the difference. If you're doing it because you love it you can succeed because you'll work harder than anyone else around you, take on challenges no one else would dare take, and come up with methods no one else would discover, especially when their prime drive is fame and fortune. All that will follow later if you really love what you do. Because your work will speak itself.

Frankly, I got into the movies because I like the movies a lot.

I often envy a filmmaker or a playwright or an author where people are like, "Yeah, I sat down every night and read your book and it was beautiful." Or, "Yeah, I went to the movies and all I did was watch the movie because that's all you could do at the movies." Where with music, it's like, "Ugh, I love your music. I listen to it while I'm jogging thinking about how I hate my body." But it is also the privilege of being a musician is you can have your music in this documented form and play it live and that's, I think, what draws me to it the most.

I like heist movies. I like action movies that set all the elements into one and a chance to do something that comes from a great stable of writing.

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.

Everybody who's making the movies needs to work hard to make sure they're good. And if you don't show up and see the movies and support them financially, no one is going to make them. It's going to change unless it makes money. That's the long and short of it. You have to give in to the fact that it's a business.

I like movies that instill passion in the viewer. I like movies that can teach us about who we are as people.

My tone and my style are reflected in the movies I choose to make. I want to make big movies. My dream is to be Jon Favreau or Ben Affleck.

Sometimes, the smaller roles in movies can be the most interesting. If you only take the stance that you'll only play central characters in movies, you'll find yourself not being able to indulge in that morally grey terrain that makes support characters so rich and interesting.

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.

We just don't want to repeat anything that we've done in the movies [X-man] or that we're going to do in the movies. There's so many stories to tell, we just want to stay out of each other's way.

I don't think I've made good movies. I've just made some movies more disgusting than others.

It's very difficult to get any movies done about Black heroes - Haitian or American - in Hollywood. The argument in Hollywood is that there is no market for those movies, and that is not true.

If I make two movies my entire life, and they're two movies that - whether they make a lot of money or two people go to see them - they speak of me, then I consider them incredibly successful. I don't need to be Steven Spielberg.