Quotes About Movie

Considered purely as effects-driven filmed drama, 'The Day After Tomorrow' checks in somewhere in the middle of one of Hollywood's most absurd and least lamented dead genres, the disaster pic of the '70s. It's a little better than 'Earthquake' but not as good as 'The Towering Inferno,' because it doesn't star Steve McQueen and Paul Newman.

I actually didn't believe the producers when they said, 'Joy, we're writing a movie about your life'. I was like, 'Oh, OK, fine, call me tomorrow.'

I'm flattered if any movie role and my name are mentioned in the same sentence, because there haven't been a ton of them.

When you do a first movie, you're contractually supposed to do the second one and then you don't do it, you become an executive producer. That's why there are a ton of directors who have executive producer credits on other movies.

It doesn't matter who's directing, or who's doing the movie; there are a ton of things that can go wrong, and they do all the time. So you just have to figure out how to get through it, and then how the director finally puts it together, and then see what the audience takes from it. That's the most important thing to me.

I think 'Cyrus' has a lot of fat in it. It was a $7 million movie. If you're going to make a movie with famous people, you don't necessarily need to spend 7 million dollars. Make it for less than that, and you'll be able to sell it and make a ton more than that, and everybody shares the profits.

I think every movie is its own little world, and a director certainly sets the tone.

I think crafting a new, effective horror movie is not just about when night falls and things get scary. It's about setting a tone and mood that permeates throughout the entire movie. So even during the daytime, things are never quite safe-feeling.

If you just did a horror tone throughout an entire movie you almost, as an audience, can get a little bit used to it. But if you're laughing one minute and, you know, somebody's doing something quite horrific the next minute, it's a little more shocking.

I didn't feel like going any further in this scene with the boy. He was not a professional actor, and if I had pushed the scene any further it would have destroyed the tone of the movie.

As the lead of a movie, you really set the tone off-camera as well, and that's a really big responsibility.

I start with the music before I start writing the movie. It's such an important part for me, emotionally, to set up the tone for the movie.

I'm not dark; I'm not. The main thing I consider in accepting a role is less the tone of the movie and more whether I think it's a good film, whether I like the character and whether I think I could do it. I don't think, 'Oh, I've done X amount of dark films.'

As producers, we can influence where the budget goes, but only the director really controls what tone, what type of movie you are trying to make.

It's the same assignment on every part: you want to create a real world, and the tone of it is a little different on each movie. You have to find your tone and work within that to make it as real so the audience can really engage in the story you're telling.

The completely irreverent tone was the thing that won me over about the first 'Deadpool' movie.

I notice now, whatever character in whatever movie you're watching, they have these toned arms and muscles.

I think you have to have a sense of humor about every movie that you're doing. Your character needs to be relatable in a way that, even when you're doing the most bizarre things, sometimes a bit of tongue in cheek is necessary to keep up the believability of it.

I have done all kinds of roles, but Tony Montana's role in 'Scarface' is something I would love to play.

I've always felt that there's a lot of similarity between doing a comedy and doing a scary movie because jokes and scares are all about timing. If you give the punch line too early or too late, the joke falls flat. And it's the same with a scare.

I lose tons of stuff on the cutting room floor. For Scary Movie 3, for example, we had a lot of Matrix spoofs, a Hulk scene, and some of that stuff just doesn't hold up - it's too much plot, audiences just didn't want to hear about it.

You can't really do a big character in an action film; you're already suspending your disbelief in the action, then to suspend your disbelief in the character is too much.

I now hate actors that blink too much on screen. When people blink, I turn the movie off. So I don't blink at all.

When I got off '24,' pretty soon after that I did a movie that took place in the '70s, this movie with Jimmy Caan and Gena Rowlands, and I needed to kind of have that '70s pouffy housewife hair.