Quotes About Movies

I've had movies bomb with terrible reviews, I've had movies make a lot of money with terrible reviews, I've had movies get good reviews and make money. And I like it best when the movies do well and the reviewers like them.

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.

When [Len Wiseman and I] first met, I was a huge fan of the 'Alien' movies. I was a huge 'Die Hard' fan until it ate my husband for two years. We sit and watch movies all the time. One of my favorite movies is 'Dog's Day Afternoon.' Len loves that movie.

If you think about TV series, we make 16 one-hour movies a season. You don't get any opportunity like that in movies. I mean, I can't say I'll be able to do 16 movies in the next year, and so that's how I see it.

Even from a really young age I was a huge movie buff - five, six, seven, eight. Just loved movies, but in a more in-depth way than most kids that loved movies at that time. I'd find a filmmaker or something and want to see all his movies.

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.

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.

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 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.

I aim my movies, as much as I can, at myself. I think that those movies have an interesting quality. They're very movieish. They are movie movies. Like I think Watchmen is a very self-aware movie. 300. Dawn of the Dead definitely. That's really where I've ended up.

If the goal is to get the best artists, actors, and filmmakers in the world to create the best movies, Hollywood does a decent job. And I think no one would disagree with me that it also makes a ton of bad movies and employs a bunch of hacks.

Great movies are rarely perfect movies.

I grew up on movies like Airplane! and The Naked Gun. You probably saw it more recently, but as a kid I grew up on them so I loved those kinds of movies.

Movies these days have made killers into funny people. What's that all about? I've got kids and family and friends, and I don't like bad things. I don't think they're funny, and it's irresponsible to make movies that don't show you how that's not good.

I haven't done a lot of studio movies, but studio movies and independent films are always just as fun as each other.

I don't see as many movies as I used to. Or, I should say, as many movies as I would like to.

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.

I don't believe in making movies to cater to a foreign audience. You never know what the reaction is going to be anyhow. At the time I made Maborosi, the Japanese movies getting any foreign attention were all period dramas and seemed to be about some representative element of Japanese life, and my movie was contemporary movie about one specific woman trying to understand her husband's suicide.

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

Notice how every science fiction movie or television show starts with a shot of the location where the story is about to occur. Movies that take place in outer space always start with a shot of stars and a starship. Movies that take place on another world always start with a shot of that planet. This is to let you know where you are. Novels and stories start the same way. You have to give the reader a sense of where he is and what's happening as quickly as possible. You don't want to start the story by confusing the reader.

There are certain ways, narrative forms, that do not function as a continuation, for example, of 3D movies. You see, what is obvious to me is virtual reality or immersive 360 degrees virtual reality is not somehow a part of 3D movies, and it is not a new form of video games, it's neither, it is something completely new, something different, and nobody has come up yet with real convincing content.

3D is quite a lot more advanced in animated movies; for live-action movies we're just taking baby steps, we're just in the beginning. So when I think of doing that I was very excited. It didn't go as far as I think it should, I'm still a novice, but I think it's fair to say it's a new cinematic medium, experience.

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.

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.

Movies serve many purposes, and I've visited many of those genres, from the most light, frivolous comedy that is just trying to make you laugh, to movies that explore the most complicated side of the human soul. As an actor, I play all of those things, and I still like it.

When you're dealing with TV and with movies, people dont take it as serious as they do with music. If a rapper does a song about shooting people on the block, and goes into a restaurant or grocery store, people grab their purses because they're afraid the person is violent. With TV and movies, people know it's okay, it's just a script.

[I]nstead of the usual "Why can't we make movies more like real life?" I think a more pertinent question is "Why can't real life be more like the movies?"

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!

My existence is about making movies, so I've just got to rock and roll with the punches. You want to make movies on telephones, I'm there.

I make movies that nobody will see. I've made movies that even I have never seen.

I believe that the process could be fun, I just think that making movies is really tough. And it's stressful as it is, and I think that most of us got in this business because it's fun to make movies.

People associate me with a time when movies were pleasant, when women wore pretty dresses in films and you heard beautiful music. I always love it when people write me and and say 'I was having a rotten time, and I walked into a cinema and saw one of your movies, and it made such a difference.'

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

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.

Where I come from, it was a heresy to say you wanted to be in movies, leave alone American movies.

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

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.

A huge problem in movies or with people who work on movies is that two people can look at the same thing but they don't necessarily see the same thing.

Typical horror movies of the 1930s were often given a period setting in what looked like a kind of stylized 19th century... the sense of 'elsewhen', of distance, lent to many of these movies by their settings. They exist, as it were, in a 19th century of the mind.

In the past that you should choose a list of female action superhero movies that haven't worked. I don't believe they haven't worked because they had a female in the lead, I believe they didn't work because they weren't good. They weren't technically well done movies.

3D is quite a lot more advanced in animated movies; for live-action movies we're just taking baby steps, we're just in the beginning.

Well, I don't know. When I signed my contract, I signed to play Loki in five more Marvel movies, but they were unspecified. So, if there will be more movies or not remains to be seen, but I like the idea of Loki turning up in the shadows when people least expect him, but you never know these things, the world changes and the things change, but I feel like I know who Loki is, so I wouldn't mind.

If military movies were automatically successful we'd make nothing but military movies. But seriously, patriotism is one thing that all Americans have in common.

Horror movies travel pretty well anyway. They're like action movies: People overseas can watch them and enjoy them, and they're not so culturally specific in terms of their references, and they can follow a good scary story.

Some of my favorite movies are action movies. You want something good to say. That comes from good writing. But writing is not a skill I possess, unfortunately.

What is so liberating about this whole business is when you see that, you know, big movies are going to come out, huge movies are going to come out, and then you see them up in Malibu in the little Triplex theater a week later, on the scratch negative, and you think...“This is show business. This is the great movie career. And it’s all finding it in the shoebox.”

I don't really like movies that are all one or the other. It's really about the play between both of them. Now that I've said that, there's actually lots of movies that I like that are one or the other but it's just not for me as a filmmaker.