Quotes About Movies

I love horror comedies, and I love horror movies. In particular, I love horror movies from the '80s that have practical monsters in them. They're not just slasher movies with people going to kill people in people's houses. I do like these ridiculous monster movies. They're scary, but they're absurd. I had a lot of fun in my 20's, watching a lot of these movies late at night.

There are a bunch of different movies I feel that way about. However, there is a debate because as you may know after MST3K ended there have been things like Cinematic Titanic that are the children and the grandchildren of this way of dissecting movies and making fun of them and in a way celebrating the absurdity of those movies as well. There are certain movies that sort of fit into the MST3K paradigm which is hidden gems, these weird horror/sci-fi/fantasy movies.

I am fortunate enough to have worked on, and continue to work on, evolutionary movies in all formats from just simple good story telling, which still matters most of all, to CG movies to tent-pole size 3D movies, and genre 3D movies like 'Piranha 3D.

I try to find inspiration in books, paintings, illustrations and the one thing I try to avoid is just being inspired by other movies, because then you just are talking about movies in movies. I try to talk about movies that are culturally and spiritually a little more diverse.

Steven's Spielberg is one of the most visually talented and character-oriented directors I've ever worked with. And I learn from him every time I watch one of his movies. Good or bad - and he has made some awful movies - they're never uninteresting. He's made four or five of the greatest movies of all time. Perfect movies, like E.T. or Schindler's List or Saving Private Ryan.

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 want to make all kinds of movies. I do want to make big movies that are a lot of fun to go to, but I also want to make movies that are going to stimulate some thought and maybe raise some awareness.

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.

Even some of us who make movies underestimate their influence abroad. American movies sell American culture. Foreigners want to see American movies. But that's also why so many foreign governments and groups object to them.

If it took some effort to see old movies, we might try to find out which were the good ones, and if people saw only the good ones maybe they would still respect old movies. As it is, people sit and watch movies that audiences walked out on thirty years ago.

Sure, I watched a lot of Hollywood movies. Maybe I've seen more Hollywood movies than French movies

It's too expensive, that's the thing nobody wants to talk about. It is too expensive to make movies. That's not true, it is too expensive to market movies. Making movies is not.

I always feel, I guess being a product of the movies of the 40s where movies were the greatest things and screens were big and palaces were palaces and stars were larger than life that reality was so much inferior to what we felt was conceivably possible from what we had seen in the movies.

Movie people think things are movies, and authors think things should be movies because, up until recently, movies have been the jewel in the crown. But, that seems to be changing.

Television is a great job for a writer in the way that movies used to be, way before my time. Back when writers in Hollywood were on staff or under contract at any given studio and you'd write movie scripts and then the movies would get made within a few weeks, such that you could be a working writer in the movie business back in the '30s and '40s and '50s and have a hand in writing five or six movies a year that actually got produced. The only thing remotely like that in the 21st century here in Hollywood is working in the TV business.

A movie is made for an audience and a film is made for both the audience and the film-makers. I think that The Game is a movie and I think Fight Club's a film. I think that Fight Club is more than the sum of its parts, whereas Panic Room is the sum of its parts. I didn't look at Panic Room and think, "Wow, this is gonna set the world on fire". These are footnote movies, guilty pleasure movies. Thrillers. Woman-trapped-in-a-house movies. They're not particularly important.

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.

I think one of my favorite things about making low budget movies is that when you get into expensive moviemaking territory, it's almost impossible not to reverse engineer the movies. It's irresponsible not to think about the result and the financial result. But when you make low budget movies, you can put that out of your head.

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

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.

Unfortunately, 'chick flick' has become a term to describe most movies that I don't even like. They're these movies that, yes, have women in them but they really don't reflect who women are, and there's something kind of silly or shallow or gossipy about them.

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!

People always ask why I don't make independent movies. I do make independent movies - I just make them at Sony and Paramount.

Movies are movement. A comic-book is immobility. From one still picture to another, but no movement. You need to make the movement in your head. In the movies, you see the movement. It's different. What is the same is the mind of the creator.

My father is so in love with making movies, and he'sso charismatic about it, that it's hard to be around him withoutwanting to make movies.

There are conservatives in Hollywood who make good movies. They just don't make conservative movies because that's not what gets funded.

[David Milch] had say, "You have to understand that our history of western movies, what we've been doing in westerns since the movies began to talk, you had audiences that would be offended by certain things, and there was a cleaning-up of the way people spoke."

A certain type of critic doesn't really want French movies to be visual. They think movies started from books and they forgot this part of moviemaking, like Chaplin and Buster Keaton, which I didn't forget.

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.

The-one of the odd things that's going on with smoking these days is that in the '90s, smoking at movies in the '90s, there were more movies showing smoking than there were in the '60s.

I am a fan of movies and there is something about watching film that is burned into celluloid for all time that is now a piece of history. You go watch, being a fan of classic films and my children and their children are going to be watching these movies.

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 always knew I wanted to be a character in the movies. When I was growing up, I had to have a lot of surgery, and I spent a lot of time recovering at home and in the hospital. Watching movies took me away from my own problems and gave me a total escape.

In my own country, many of the movies in recent years express our innate fears about what awaits us. They are apocalyptic visions that leave only a few people on earth-whole cities surviving under domes because we have depleted our natural resources. And often in these movies, for reasons that I question, we have space aliens who are always blowing up Washington, D.C., and the White House.

For movies to get greenlit solely based on the success of other movies that have a lot of women in them? It's so ridiculous to me.

There’s something strange about theater. My characters consistently demonize elitism, but of course it’s taking place in a theater where only so many people can see it. I’ve been in silly popcorn movies - the kind of thing that as an actor you might feel embarrassed about - but those movies reach many more people.

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.

You go to movies to see people you love suffer - that's why you go to the movies. You don't go to see a movie about a guy who already knows he has a wonderful life.

I love the Elvis movies. I used to watch them. In every single one of his movies he wasn't acting as a car salesman - he was acting as a car salesman who loved to play guitar.

The movies that are honored at The Oscars are always a certain type: Old-fashioned. It's a bunch of well-made, old-fashioned movies that support our idea of ourselves. They uplift the human spirit. That's why horror films never even get nominated.

There are some movies that I would like to forget, for the rest of my life. But even those movies teach me things.

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.

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.

But actually my dad is a very talented director and not just his use of shots and camera, but he's very good with actors and he knows acting well. It's great to see him do that and be really good at it and he's been doing it for a while and he certainly knows how to make movies, and little movies I guess for a television show, and he's going to come back in November to direct a second episode, which I'm really excited about.

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 of being alone with my dad. He drove a truck for a living. But he had a few free hours in the middle of the day, between the morning shift and the late afternoon shift. Because I was the youngest of nine, I could have him all to myself when they were at school. We'd watch movies at home, or go to the movies, and he introduced me to the guys who still inspire me today.

When the digital world is really here, movies can be disseminated from satellite direct to homes and direct to small theaters in Mongolia and northern Russia and obscure places that the market for movies is going to grow and grow and grow.

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.