I remember, after 'Tumbleweeds,' my friend and I wrote 'Pride and Glory.' I was just about to get it going. I had some really great actors attached, and New Line was going to make the movie, and 9/11 happened. And it was over. By September 12, it was over. And rightfully so. I understood that.
Movie studios are owned by giant corporations. They care about money; they don't care about movies.
What is funny is when you do a futuristic movie, you immediately get to be fashionable because you're creating something that doesn't exist.
I love movie directors. I don't care who it is.
When there's a great horror movie, people are like, 'Horror's back!' And when there's a series of not so good ones, 'Horror's dead.' I think it's all about the quality. When there are one or two good horror movies in a row, people come out interested again.
Your opinion is not influenced by anyone when you're alone at a matinee. It's just you and the movie.
I read an interview where someone said, 'It's a shame that anyone can make a movie now,' and I feel the exact opposite.
Stars are rare creatures, and not everyone can be one. But there isn't anyone on earth - not you, not me, not the girl next door - who wouldn't like to be a movie star holding up that gold statuette on Academy Award night.
One minute, it seemed I had more movie offers than I could handle; the next - no one wanted me.
I never made a movie I would not take my family to see.
I just want to see a good movie. Fortunately, good movies come in all sorts of genres.
On any movie I'm involved with, I say what I think.
'Tammy,' the new movie starring, produced, and co-written by Melissa McCarthy, could be an artifact from some alternate universe: the creatures there resemble Earthlings but have an entirely different and debased idea of what's funny.
I try to write cinematically. Let me define what I mean by that. First of all, I try to write in a visual way so that the reader can watch a movie in their head. And it keeps moving. I try to structure the stories like a screenplay may be structured.
This is a culture filled with perfect images of women and perfect images of movie actresses, and most people can't live up to them.
I can remember when anything further downtown New York than Canal Street was risky and the whole area still looked like a '70s cop movie location; when the original loft-owners were more dash-than-cash, artistic types.
I didn't have big movie offers, or any big agents wanting to work with me. I had to go grassroots, start at the bottom and go on 150 auditions before someone finally gave me a shot.
Honestly, I'm not a big movie buff in general. The only movies I own is probably the 'Indiana Jones' trilogy.
Any time you do a movie, there are going to be war wounds that you end up getting.
I saw 'Hairspray' at the Pantages in L.A. It came to the Pantages right before I did the movie, and just being in New York sometimes and seeing the marquees and everything like that, I'm like, 'I really, really have to go experience a Broadway play.'
I want 'Dawn' to play like a cowboys and Indians movie.
A reader's own imagination is a far more powerful form of CGI than anything any movie can provide because it's unique. In your own imagination, you can enter all sorts of worlds, and they are unique to you because no other reader will interpret a book the same way.
Every celebrity in the world, if their movie bombs or whatever, they hold their kid up on a magazine and say, 'I'm really a dad.'
'Animal House' was my first movie, so I didn't have anything to compare it to. I was a sight gag more than anything else. So I can't say it was one of those things where your life changes. When the movie came out, I had to ask for the night off at the bar.
Movies are the work of a collective conscious. It takes 500-800 people on a movie to complete a vision.
The initial attraction of a political convention was that often the outcome was not preordained. There was at least some element of surprise. But, now it's like tuning in to a movie where you already know the plot and the ending. It's just not that interesting.
I would play hooky from school and spend all day in the movie theaters. Consequently, I learned satire in all its subtle forms.
I've never done a movie that's shot more than 40 days because I just don't do those kinds of films.
I remember telling the 'Tangled' crew about grimace moments: how when you watch a movie that you worked on and you think, 'Ah, I wish we could have done that scene better,' or, 'I wish that we'd had the time or the money to fix that particular story problem.'
I'm a huge movie buff, so I'm a fan of a lot of actors and actresses.
Intimate scenes on a movie set are just dry, bizarre things; people standing around.
I'll watch a Pixar movie over and over and over again. I'll be with friends of mine who have kids, that want to watch 'Finding Nemo,' and I'm like, 'Yeah, okay, let's watch 'Nemo' again, for the seven billionth time!,' because they're amazing movies.
Your big movie stars who've been in blockbusters generating a lot of dollars are looking for the meatier, substantive roles that they think will make the awards season.
In a series, you have the luxury of time to establish the character and build a rhythm. In a TV movie, you've got to come up with the rhythm now. Right now.
I know a lot of actors picture themselves winning Academy Awards. I really just wanted to do a Christmas movie because it's the kind of movie that I really love to watch. I'm a sucker for the holidays.
My goal is to make a movie that no one would sort of expect me to make.
