There are a lot of parallels between doing a sequel and doing low budget movies, which is they give creative parameters. As a creative person myself, I work better with parameters as opposed to anything goes.
I went to drama school in Paris and started doing theatre with a friend. Then I moved into movies and slowly but surely I got roles.
Our trials and our times of pain get the most recognition, but 'Straight Outta Compton' speaks to triumph. When it's doubtful, when nobody is on your side, when your back is against the wall, you triumph and make it through. Showing growth through movies promotes growth.
I think movies do play a valuable role in turning people on to the act of reading. I think that phenomenon just creates readers. At first they're going to love 'Harry Potter,' or they may love 'The Hunger Games,' but after that, they're going to love the act of reading and wonder, 'What else can I read?'
I did two movies that were arthouse movies; they were critically successful but made no money at all... but after making those movies, I thought, 'I wouldn't watch my own movies when I was 16, and my buddies where I came from wouldn't watch my movies, because they were boring.'
It would be great to go to school all year and do movies during the summer, but it doesn't work that way. I'm not Julia Roberts, so I have to be flexible.
I have always wanted to do a show where I could stay home. When you make movies, you might as well take a dart and throw it at a map.
I tend to watch a lot of movies at home. It's nice to be close to the refrigerator with my pyjamas on and just relax.
Movies tie things up in an arbitrary length of time, but I have always liked things that aren't fully realised.
I loved all movies, literally. I certainly loved 'Shane' and 'Roxie Hart.' Later on, when I was less of a kid, I loved 'L'Avventura' and 'Persona' and all Fellini movies and like everybody else I loved John Ford. Then and now, I loved Preston Sturges, maybe above anyone.
I was always focussed on the modelling and succeeding in that, but now I'm completely focused on making it over in India in the movies.
I've always loved reading and always loved the movies. Storytelling is one of the oldest of human endeavors, and they give us our understanding of the world and our place in it. When I discovered that there were people who professionally were involved in the creation of stories, it was game over - I knew what I wanted to do it.
The way we tell our stories on stage is that we use spoken word to convey action, and in movies, we use visual images to convey action.
When I was a kid, I really loved watching 'Cinderella.' It's a fantasy, and every girl knows that real life isn't always like these movies, but as a child, I just really loved the story of 'Cinderella.' I found it to be so romantic and just a beautiful movie to watch.
Elizabeth Taylor was the first star for whom an offscreen narrative was equally as important as an onscreen one. Her private life became as much of a driving force of her fame and success as any role she played in the movies.
The nature of motion capture is only going to work for certain films. It's not going to put any other type of movies out of business.
I know that I am not owed the right to make movies. I know God has given me this privileged position, and I have to work dog-hard as an actor to make the films the best they can be.
I think all good sports movies aren't really about sports.
It's an ongoing joke that a black man is always the first one to get killed in movies.
Obviously, I'm attracted to heavier movies.
I've always loved Peter Sellers and Alec Guinness movies.
Whenever I work on any Yash Raj film, I feel that they believed in me, and that's why I have been able to be in films today. I had no connection with movies apart from watching them.
I knew I had to get out of Boston and stop making movies there, at least for one movie, otherwise no one would ever consider me for a movie that took place south of Providence.
I wanted to do everything. I wanted to be a pilot. I wanted to be a secret agent. I wanted to be a fireman and a doctor, all that. So I related that through movies and stuff.
I traveled to Morocco once, and I only saw one television when I was there, but I did go into this dirt cave and I saw this kid chopping tomatoes and pita, and he had a picture on the wall of Jean-Claude Van Damme holding a gun. That connected with him on the other side of the world, so no wonder these big movies are made - they have a mass appeal.
I meet a lot of people when I do stand-up in the Middle East, and I don't know any terrorists, yet on TV and in the movies, 9 out of 10 are depicted as terrorists.
I just want to see more women in film and behind the camera. I'm tired of seeing movies from one perspective.
'Blazing Saddles' is one of the funniest movies ever made.
As far as I'm concerned, I make movies.
I love '80s movies.
An often-repeated assertion in the body of film criticism I have written is the assertion that movies do not just mirror the culture of any given time; they also create it.
I thought I'd just do a wave of movies, and then I'd burn out. They just kept coming together.
The financial implode is bound to be reflected in the movies that are being made, there's no question.
I came to California and got signed at a young age. And it's not like you see in the movies, where you start rubbing shoulders with Timbaland and Pharrell, and you become a giant pop star.
I'm never interested in movies where you don't care about the people you're watching, and that's my biggest quibble about horror, that kids have gotten stupider and stupider.
I started making movies in 1977, and I didn't even think about the idea that I would ever be on a television show. Once I finished the 'Guiding Light,' I was like, 'I'm done with television!'
