Quotes About Movies

If I wanted to do TV full-time, 'Breaking Bad' is definitely the type of project I would want to do. But TV is not my favorite thing in the world. I definitely want to focus on film. It's what I grew up loving. It's always been about movies, movies, movies, movies, movies. I really want to make great films.

I think its important for movies to recognize that they are part of a history of movies. I also think that most movies are about movies anyway, even if they're about something else.

Mainly horror movies and exploitation movies and a lot of stuff comes from those press books from those old movies. Lines out of old movies, comic books that we collect, all the old horror comics of the 50s, probably about the only comics that we collect are obscure horror comics, the real sick ones from the 50s. Some stuff comes from there but mainly just old records, old rockabilly records and that stuff, singles mainly, 45s.

Mainstream Hollywood makes a few good movies a year. And in order to be in one of those, you have to be one of five people. Hollywood makes many bad movies too, which I'm not interested in being a part of. But there are only a few good independent movies a year, and many, many bad ones. I want to be in good movies, and I want people to see them.

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.

I wanted to do serious movies. I had a certain idea of what good acting was. That's since changed, and I love doing comedies now. I don't like a lot of those movies now, but I thought those were movies that I could do real, serious performances in.

I love being entertained sure, but the movies that I live for, the movies that I buy and think about and stay in my mind are the movies that entertain me but leave me with something a little uncomfortable to grapple with in the lobby.

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.

In Europe, where we have all these different forms of financing and cultural funds and systems like that, it's a good mixture of supporting artists to make movies. But, on the other side, everyone still wants to make money making movies. Again, even in the European film business, it's expensive to make movies.

Cinema Paradiso, because it reminds me of why I make movies, the magic of movies, the romance of movies.

The '80s just had this sense of outrageous fun coupled with great stories and characters. Then there's the practical effects and buckets of gore in movies. These are movies that, for the most part, still stand up to this day. But I guess the real reason for my love and obsession with this period is these were my first horror movies. I was a teenager during the '80s and I think spending that part of your life in that particular time really has an impact on you for the rest of your life.

An avidity for more is built into the love of movies. Something else is built in: you have to be open to the idea of getting drunk on movies. (Being able to talk about movies with someone -- to share the giddy high excitement you feel -- is enough for a friendship.

The Seydoux-Schlumberger industrial empire won't make $100 million movies. Hollywood does that much better. But you don't make movies because of their budgets, you make movies because you believe in them. Setting limits doesn't matter to me.

And don't rush to make movies. Movies should be made when they're absolutely ready. There's too many bad movies being made.

What I like is horror movies, including '80s slasher movies that politically I have all kinds of problems with. Which is an interesting balance, because I have this leftist puritan strain that, well, if you like something that goes against your politics, maybe you should train yourself not to like it. But I know that I like horror movies and that's what I watch when I get a moment.

I've ended up as a filmmaker who really loves the movie part of movies. That time in my life was a big influence on the kind of movies that I ended up making. I always think I'm going to make a movie that's gritty and real, but then I make a movie that's like an opera. I fight it at first and then that's just the way it is.

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

We don't make movies for critics. I've done four movies; there's millions upon millions upon millions of people who've paid to see them. Somebody likes them. My greatest joy is to sit anonymously in a dark theater and watch it with an audience, a paying audience.

Now the time comes that I decided I only will do art films, basically. In a way, very similar to Isabella Rossellini. I prefer to work only with people like Lars von Trier or Guy Maddin or Gus Van Sant, just to name a few. But also there's bills to pay, and sometimes you have to make a movie. So my decision from now on is art movies, or movies which are commercial, but for real money. That is my decision.

I got my shot at the movies. I love doing standup live. I didn't know what I wanted to do. I wanted to try movies, so I gave it a shot. I had two shots and I didn't really do it. That wasn't really happening for me. On the second movie I got to meet the girl that would be my wife. So I got to hang out with her and get engaged, and get the whole wedding thing. It was really great.

I just feel like there's so many movies I haven't seen that I want to see, that I would never go back to the same one. It's funny because all my friends, they have movies that they've seen over and over again.

My parents took me to that I think is just one of those near-perfect comedies is Young Frankenstein. Gene Wilder and Mel Brooks, they're at the height of their game. The two of them working together was amazing. Yeah, just a terrific story. You get emotionally involved. Jokes all the time, jokes that come from story. Like, they don't have to go wildly out of their way to make the jokes. It's a parody of Frankenstein movies, but also it stands as one of the great ones, one of the great Frankenstein movies.

Sometimes when we weep in the movies we weep for ourselves or for a life unlived. Or we even go to the movies because we want to resist the emotion that's there in front of us. I think there is always a catharsis that I look for and that makes the movie experience worthwhile.

In growing up, I was a child of the movies. I went to the movies every given opportunity, and that's pretty much what has informed a lot of my choices.

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.

I hear a lot of, "We want to make a movie with you." Then "No, we don't want to make this one. We want to make that other movie with you." I don't really get that and it's very frustrating. It angers me. Because my movies are my movies.

Quentin [Taranino] will say, "We've got it, but we're gonna do it one more time. Why?" And then, the entire cast and crew chimes in and says, "Because we love making movies!" He is a person who celebrates this form of expression, and it is evident in his movies, his conversations, his extensive knowledge about the history of what we do, and the actors and crew that he assembles.

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.

I'll say, what makes me happy about making movies is, every once in a while through movies we find a kind of honesty. There's an honesty in fiction that's as effective or even more powerful than the honesty of our lives. We can find something that's genuinely true, like a chemistry between people or a statement that speaks to an audience.

I am so happy because I want more people to like martial arts movie not just martial arts audience. Even martial arts can be used in comedy, in drama, in horror movies, in different kinds of movies.

I don't like to watch my own movies - I fall asleep in my own movies.

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

I guess what I like in my movies is where you see a character change by maybe two degrees as opposed to the traditional movie change of ninety degrees. I guess that always feels false to me in movies because that doesn't truly happen. Around me, at least in the life I live, I guess I don't see people change ninety or a hundred degrees. I see them change in very small increments. I think it's just a monitor I might have on myself as a writer to not make any false scenes.

You're not able to do a lot of projects because you don't have a name. I wanted to get my movies to come over that hedge, so that I could do the movies that I wanted to do.

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

The Jackass movies are honestly some of the best movies I've ever seen. I laugh so hard at them. Those guys are geniuses. If they had grown up with a different group of people, they could've been performance artists at Bard College, and people would be writing papers about them.

Content isn't king. If I sent you to a desert island and gave you the choice of taking your friends or your movies, you'd choose your friends -- if you chose the movies, we'd call you a sociopath. Conversation is king. Content is just something to talk about.

Let's make movies, not deals. Let's write movies, not scripts.

People who are afraid to go to horror movies are generally afraid their whole lives. People say to me, 'Do you have nightmares?' I never have nightmares! And I go to movies and see the most bizarre things in the world, and go... Wow that is really sick, how fun is that! And I don't have to carry it around. I think that's very healthy.

I'm at a point in my life where I could make 20 more movies, but I want to make 20 more movies that matter to me.

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.

I loved old movies as a kid, so I always watched old movies.

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.

People look at technology as sometimes an end to things, and it isn't an end in certain cases. In the movie business, the act of creating in the art form of movies, the craft of movies is completely technical, and that's all it is.

I feel pressure as a fan. I don't really feel pressure from the fans, if that makes sense. I worked on other movies, like the X-Men movies, that have big fan followings. And if you start to get lost in those voices, you will be completely lost. I feel the pressure of the 6-year-old me.

I like most of the Humphrey Bogart movies because they had to act then, and they acted very well. Edward G. Robinson is probably the best actor I've ever seen on the movies.

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.