Quotes About Movie

This is not a change of career for me. Just an expansion of it. I have contracts and obligations and business partners who are counting on me. And I would only want to do another movie if it's as good as this one.

I want to keep doing different things. I'd like to do a more personal, dramatic movie next, I think. But as long as it's about characters and good writing and good parts for actors, that's what's important.

Probably the most difficult things were my favorite parts. The make-up and the big fight sequence at the end of the movie were very difficult but really fun and challenging.

I usually play character parts in Hollywood films.

I remember the first time I saw Robert De Niro at a party. I didn't want to run over and shake his hand. I wanted to admire him from a distance. Later, I ended up making a movie with him, and that was fantastic.

During an election, it's like they're doing my job: they're going around banging the drum for their party and selling their movie. You know, it's the same thing.

If a director brings a guy to their movie who does improv, they've got to let him do what he does - otherwise it's like bringing Michael Jordan to your basketball team and telling him to just pass the ball and don't shoot.

I had a dream cast when Dan first went off and wrote 'Ghostbusters 3' by himself. It was so long ago that my dream cast was Ben Stiller, Chris Farley, and Chris Rock. That would have been cool. Now, a lot of time has passed, and there are a lot of young funny people.

Part of the reason why movie bosses are so obsessed with crime movies is because they know that world and the criminals. And that's what they are - they would not hesitate to act illegally to achieve profit and gain.

Richard said he'd already assigned the rights of his story to Ruth, but he would sign them over to Gallegos in payment. That was agreeable to the lawyer; he knew the huge media attention would inevitably spark book and movie interest, and he agreed to accept the yet-to-be-made deals as payment.

Of course, I'm referring to the original. With Gene Wilder. Not the lame re-make with Depp. I like Depp. Don't get me wrong. However, that rendition was totally spoiled by the single Umpa-Lumpa multiplied by however many in computer graphics. Awful.

Yes, I love that word "absorption" because I think that's my definition of happiness. I think all of us know we are happiest when we forget ourselves, when we forget the time, when we lose ourselves in a beautiful piece of music or a movie or a deep conversation with a friend or an intimate encounter with someone we love. That's our definition of happiness.

I've worked with Filipino technicians, and they are, I think, among the best. I'm looking forward to visiting the Philippines, maybe for a vacation or to shoot a movie.

But audio is a component of video, so there's always been that anyway, and although we've never expressed a visual side apart from the Grateful Dead movie, I don't find it that remote, you know what I mean? It's a departure of sorts, but it's like a first cousin.

I enjoy 'Life Aquatic.' I think that one, from a visual standpoint, is just such a fun, visual movie to look at, whether it's the shots of the ship cut down the middle, that set where you can see everyone in each of their rooms doing whatever and moving about - something like that, I could watch that on a loop for an hour.

After I script the movie, I have to storyboard it out, I have to budget it, and I have to understand if I can afford all those visual effects or not.

When people think of a Hitchcock movie, it isn't just the visual, it's the sound.

I think it's an important part of the visual effects supervisor's job to get really deeply embedded in production and keep us all focused on trying to generate the best result. I'm not proprietary about, 'I would rather do this effect than let physical effects do it.' No, let's do the smartest thing for the movie.

When I'm creating characters, I definitely think of theme songs. Writing for me is very visual, so I sometimes think of it in terms of a movie with a soundtrack, and try to transfer that to words.

When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.

When we think about a great movie, I mean, what do we think about? We think about story, we think about character. And when the visual effects aren't perfect, we forgive it.

I never think about it much, the visual aspect of it, until we start making the movie. I don't really think about it when we write. When we finish, and I start putting the film together, and we pick the locations, I do think about that a lot.

When I watch a movie I don't really care too much about the plot - not that it isn't important, but what I remember is the visual imagery, something that happens in an individual scene.

I like seeing the cameras because it helps visualize how the music people and the movie people teamed up.