Quotes About Movies

The earliest influence on me was the movies of the thirties when I was growing up. Those were stories. If you look at them now, you see the development of character and the twists of plot; but essentially they told stories. My mother didn't go to the movies because of a religious promise she made early in her life, and I used to go to movies and come home and tell her the plots of those old Warner Brothers/James Cagney movies, the old romantic love stories. Through these movies that had real characters, I absorbed drama, sense of pacing, and plot.

Nowadays the movies that people are going to see in the theaters are the big-event movies, like Spider-Man or something, or they're 25-year-old models who are vampires, or they're very broad comedies, or they're standard action movies. So if you're going to work for a studio and do a movie for the budget that the movie needs, those are the kinds of movies you'll be in.

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.

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 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.

The idea of going to the movies made Hugo remember something Father had once told him about going to the movies when he was just a boy, when the movies were new. Hugo's father had stepped into a dark room, and on a white screen he had seen a rocket fly right into the eye of the man in the moon. Father said he had never experienced anything like it. It had been like seeing his dreams in the middle of the day.

I've been making movies for a long time. The Japanese way of making movies has become second nature to me. To get away from that, I really try to surround myself with younger staff and approach making movies not like a veteran of the industry but always as a beginner and a rookie.

I've written a lot of movies with smoking, and the some of those movies absolutely gloried in the smoking and I wasn't concerned when I wrote them who would see them and how those movies would especially affect young people.

I think action movies on the whole have moved more and more into large spectacle, even leaving out super hero movies that seem to me to be more a fantastic science fiction than they are action movies.

My hope is to see people of color in roles that do not emphasize race. Often times when movies are centered around people of color, they are movies where the storyline is based on some racial component. I want to see movies where people of color play more interesting, nuanced characters.

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.

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.

The model we established was to give creative people complete creative freedom in exchange for betting on themselves, so they work for the minimums you're allowed to work for, and if the movies work in a big way, everyone does very well. If the movies don't, nobody loses too much money. The benefit to doing all the movies low budget is we can tell different types of stories and take creative risks. The Purge would have been irresponsible to do for $20M, but to do it for $3M makes sense.

Because all the movies that we tell ourselves we can't make - ballets, westerns, dramas, everything that are the hardest things to make - those are the movies that are not only winning awards which is fantastic, but also those movies that are commercial. We won't see a fascinating season like this for a while.

Ultimately the social change has to come from the people who make the movies, so the people who make the movies have to look at the landscape and say to themselves, "Well, you know, these things are changing, and I'm okay with their having changed, and I think it's okay to start reflecting those changes through the movies we make."

I don't want to just make horror movies; I don't want to just make any type of movie - I don't just like horror movies, I love movies.

The movies that made me want to make movies were action movies, and thrillers, and Kurosawa films, you know, where you have an opportunity every day to shoot it in an unusual way. I was looking for something like that.

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.

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.

In the vast majority of movies, everything is done for the audience. We are cued to laugh or cry, be frightened or relieved; Hitchcock called the movies a machine for causing emotions in the audience. Bresson (and Ozu) take a different approach. They regard, and ask us to regard along with them, and to arrive at conclusions about their characters that are our own. This is the cinema of empathy.

People always ask me if I hate the nuns. Do I make my movies extra dirty to piss them off? I always say no, that's not the point. To a Catholic, a movie is only dirty if it makes you want to have sex more. If it makes you feel sick, disgusted, ashamed of your own body, then it's not a dirty movie at all. It's a Catholic movie. And I make very Catholic movies.

I'm a huge Bob Hope fan, up until about the late '50s. I've seen so many of his movies up until then, and they're a big influence on me and a big influence on Woody Allen, who is basically just ripping off Bob Hope for his first five or six movies.

I've done performances in movies that I was immensely proud of and the movies didn't take off like a rocket at Cape Canaveral, it didn't take off.

I've always been curious what the negotiation is because obviously there's certain movies that every film wants a trailer on, like Star Wars, and I don't know how Disney makes the decisions as to what it does and doesn't put on there. I'm assuming that whatever movies are the same studio as the film get first priority, but then everybody else is fighting for the remaining spots.

Every year I hear people complain that the quality of screenplays and movies is declining. In my opinion, the vast majority of scripts written - as well as most movies that are released - are not very original, well-written, or interesting. It has always been that way, and I think it always will be.

Making movies is a dangerous job. Because you are always the one who stands at the center of the universe when making movies.

My movies are not movies of answers but of questions.

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.

In France, it's always about life, normal life. We always stick with these realistic things. So when French people are dreaming about American movies, they go and see the thrillers, and Westerns, and science fiction, huge entertaining movies.

Singin' in the Rain was most excellent if you like movies where people burst into song and tap-dance. Which I do, though not as much as I like movies where people don't.

Movies are a commitment. They take years of your life and they have big consequences. That's one of the bad things about movies - you're stuck with the aftermath.

I know I repeat myself in all my movies, but I just let it go, let it happen. Clearly, I'm not finished with that issue. But they seem to me like completely different movies. They're definitely coming from me.

I just try to be true to myself and write about things I'm passionate about. I think what most people don't like about movies is they can tell that most movies are a product, and they don't mean that much to the people who make them.

I certainly look at them very differently now, and enjoy Jackie Chan movies and movies like that.

I am a huge fan of Bollywood movies. Whenever I get time, I enjoy watching Hindi movies. Cooking really interests me, so I also experiment with food in my free time.

I love all of his movies. I love all his movies. I love Tom.

I was a barfly, so going to work and acting and rehearsing and then going and sitting in a bar and drinking and then going home was sort of my lifestyle. And there was none of that out here in the '70s when I was lucky enough to get movies, and nobody else that I knew was working in movies at that point. I didn't really have a lot of movie friends.

Football games are on TV, and it doesn't affect stadium attendance at all. It's the same with movies. People who really love movies and like to go out on a Saturday night will go to the movie theater.

I've loved making movies. I feel like I've been so lucky because I've gotten to be in movies that are some of my favorites, regardless of my being in them - like 'Heathers.'

I was influenced when I was younger by the cartoon movies that Disney put out, like Cinderella and what not. I watched those movies over and over when I was younger and the music is ingrained into my head. Nowadays, I'm still humming the tunes. It taught me the fundamentals.

I can't do the movies like I do painting because I am really more of a sort of dilettante or something. I mean I know guys that make movies that I can see it is absolutely their medium and they can just go from one movie right into the next because it is just - they have got it so much on the tips of their fingers. But for me it is a special effort.

I want to see as many movies as I can and I covet a lot of weird influential movies.

If it was a choice between making movies and doing nothing, he'd probably still wish me to make movies, So he made me keep going.

I used to watch movies - silent movies - and stock companies and theater whenever I could.

I've always been a fan of [Mary Elizabeth Winstead's]. She gets to do some fun action-y stuff she brings this gritty swashbuckle to. I think there's a lot of movies that have women in peril running away from the scarier things and then end up being saved by a man, so it's great to see this character MacGyver her way out of situations, whether physically MacGyvering away, or mentally MacGyvering a way out of something. I relate to her more than I relate to most leading men in movies.

People love to talk about how the '70s are the only time they made movies about characters, and adult movies, and complicated people. But in the '80s, they got away with some of those too.

I love making movies, and being in any that I can be in. I'd like to be in those giant movies, as the fifth or sixth lead, and have three or four killer scenes. You don't have the responsibility of the entire movie being on you. I like those roles. I'm shooting for the middle.

Doing the movies and meeting the people, and I like the stories of the movies. I like names a lot, too. When I do an audition, there is a script and it has a first page that has the names of all the characters. I'm like, “Let me see that real quick, I wanna see what my name is gonna be.