Quotes About Movies

What we're most aware of in 'Eight-Legged Freaks' is how similar it is to other movies, a recombinant mutated species itself, the product of the crossbreeding of the suffering-from-gigantism movies of the 1950s and the 1990 B-picture classic 'Tremors.'

It gets harder and harder to make movies about human beings. These movies are like an endangered species. Everything is 'simplify, simplify' now. How many movies have sub-plots anymore?

Original movies of any size are an endangered species.

It's not about choosing a specific genre; that's not how I go about deciding what movies to make.

'Jurassic Park' movies don't fit into a specific genre. They're sci-fi adventures that also have to be funny, emotional, and scary as hell. That takes a lot of construction, but it can't feel designed.

People predicted in the 1910s that live theater was going to be all gone and that we'd just be watching movies. No, live theater is still around, because it does things that are specific to it.

My passion is more specific, in the sense that I've always liked doing comedy. I've always liked doing music. I like acting. And apparently, you need those things in movies.

I'm very much into the costuming of any character that I portray and it's one of the great things about making movies is it's a collaborative art form so you get all these artists who are looking specifically about for this instance your character's costume and what that might tell about your character.

I'd say specifically after 'Get Smart,' people now know me either as The Guy from 'Get Smart' or 'She's Out of My League.' When that came out on DVD, everyone was recognizing me from that.

I'd say, specifically after 'Get Smart,' people now know me either as The Guy from 'Get Smart' or 'She's Out of My League'; when that came out on DVD, everyone was recognizing me from that. But as far as the amount of people in a time, nothing touches when those Capital One commercials were playing.

I tend not to go look at movies before I make a movie. I'd rather not be specifically influenced.

Growing up, I was all about Jim Varney's character, Ernest P. Worrell, specifically 'Ernest Goes to Camp.' I was also obsessed with '3 Ninjas,' 'Cop and a Half' and 'Rookie of the Year.'

I loved old black and white movies, especially the Fred Astaire and Ginger Rogers musicals. I loved everything about them - the songs, the music, the romance and the spectacle. They were real class and I knew that I wanted to be in that world.

Sarah Polley's 'Stories We Tell,' James Ponsoldt's 'The Spectacular Now,' Destin Daniel Cretton's 'Short Term 12' - these are really important movies.

It's a pity that I can never really enjoy my movies because, after the mixing, your capacity as a spectator just disappears. I have to think about what I felt just before the mixing.

There is the moral spectrum in 'Fargo,' and you see it in other Coen brothers movies, where you have a very good character on one end and a very bad character on the other.

I've done movies that have mostly feminine characters and elements, and I think that both 'Heathers' and 'Truth About Cats and Dogs' are, in their own weird ways - they're different ends of the girl movie spectrum, but they're very much centered around the female characters, and I like those movies, and I like working with good actresses.

Television has its own award. It's called the Emmy. It's a good award. I like it. I have one. But you don't see movies like 'The King's Speech' win Oscars and then go to TV and qualify for Emmys. In documentaries, some networks have been able to game the system.

Hollywood is right. A good and strong movie can have a more powerful social impact than any and all political speeches or newspaper editorials and columns.

Mostly, I would like people to ask other writers about the craft of their writing so we could learn from one another. We ask movie directors why they chose to use certain lights and angles and speeds of film, but most of the time, we ignore the craft of a writer.

You can't work in the movies. Movies are all about lighting. Very few filmmakers will concentrate on the story. You get very little rehearsal time, so anything you do onscreen is a kind of speed painting.

There have been several movies that I've done over the years that have got a bad shake - 'Speed Racer' was one of them. I loved that movie, and the fact it got such a bad reception was disheartening.

I couldn't spell anything. I couldn't remember anything, but I could go to a movie and I knew who starred in it, who directed it, everything.

They spend an awful lot of money on I-don't-know-what in Hollywood movies; I certainly didn't get any of it. But they sure do love spending money.