Zitat des Tages über Folge / Sequel:
I wanted to play a good guy after doing this lunatic on The Sopranos for two years. And then they did the sequel to Bad Boys, where I get to play the barking captain again.
I would definitely return to 'Neverland' for a sequel if there was the chance again because we all got on so well, and I think it will be great.
I'm not the guy to ask to write a sequel.
A sequel is an admission that you've been reduced to imitating yourself.
I also know that in the second movie, the sequel, Eric made some huge advances with the robot suit. That just made it even better. You put the suit on and moved your arms then the robot's arms would move in sync with yours.
The first is that instead of writing a sequel, which is what most people do, this is in fact a prequel. Although we didn't know that when we began the process.
The thing with movies is, because you have so little time, I always feel like there are more things we could've done with the character. If we'd done a sequel to 'The Thomas Crown Affair,' what would that have been like? But for the most part, you try not to think of that, because it's just going to break your heart.
I cannot explain why they made that sequel to Secret of NIMH. Because they claim that it the original didn't make money, so what was the enthusiasm to make a sequel?
I'd love to make a sequel to 'The Rocketeer.' The film didn't do as well at the box office as we all hoped, but it has endured and generated a following.
I don't know about doing a sequel. I think you can retroactively damage a product by adding to it.
I am writing a sequel to The Touch because I want to further explore the Chinese question that I have raised. There will be more about that in a sequel.
Were I not married to the director, I'm not sure I'd know anything about the 'Underworld' sequel.
'Evil Dead 1' was never supposed to have a sequel.
The first sequel thing I wrote was this 'Forever Dawn' thing that will never get out, because it's horrid. But it's a really good outline for 'Breaking Dawn' - it's very similar. I knew what I was doing, which is good, because I think if I hadn't, there might have been a lot of pressure.
The truth is when you have a movie that was as successful as 'Chronicle' was, it's not as quick of a process. There are a lot more voices coming in and saying 'This is what the sequel should be' because there's a bigger expectation and a bigger fear of failure. And that's really what's going on with 'Chronicle 2.'
Even when people abroad see me, I'm often asked about a 'Zone of the Enders' sequel.
You get involved with a studio, and optional pictures and sequel options and that sort of thing are becoming part and parcel with the roles they're handing out.
With a sequel you're always trying to get bigger and better.
It has taken Thomas Harris 11 years to publish the sequel to 'The Silence of the Lambs,' which suggests that while everyone was desperate to read it, he was not desperate to write it.
We wanted to do a sequel with Jim and Jeff. They said that the word was that Jim didn't want to do any sequels. We approached him and he said he would do it, but not until next year. New Line said it was too long to wait.
It's always an enormous pressure when you do a sequel. The demands are so high, and it's expensive.
'Baby Boy' is one of my favourite films, and Tyrese keeps telling everybody we're going to make a sequel. I mean, we have a story right now but we don't know where we're going to take it.
I was concerned about doing a sequel and repeating myself. That was before I read the script.
I feel the way I always do about sequels. If there's an idea that excites me enough, and it feels like a way to do something new and fresh, then great. But I don't ever want to do a sequel just for the sake of doing a sequel.
I would never want to take on a sequel of someone else's stuff unless I was totally reinventing it.
I never wanted 'Toy Story 3' to feel like another sequel just grafted on. We all know that if you put 3 after your title, it typically means garbage, and we knew that going in.
We had to do the same thing here. To top that sequel was quite a task. Mike had a couple of good conceptual humour and character ideas, which got me back into it.
I had a feeling about directing Cocoon II: The Return. At first I wasn't too interested because it was a sequel. Then I read the script and was excited by the relationships and its mystic quality.
At one point I intended to write precursor and sequel novels, about the establishment of the Web and its next evolution, but I am very unlikely to now; they would take place in a different universe.
You sign for a sequel for everything these days, just in case, options. In the past, you avoided them like the plague because it meant somewhere down the road you couldn't take a job because you had to do a sequel. Now it's a feature of pretty much any feature you do.
If I do do a sequel, I'm going to have to know for sure that the script is better than the original. So I'm going to be very careful about that because I'm not eager to repeat myself.
I'm not one of those people who had a burning passion for 'Peter Pan' all my life. Although I can't remember a time when I didn't know the story, I didn't carry around with me an ambition to one day write the sequel.
The time has mainly gone on getting Inform into a decent shape for public use. I suppose the plot of 'Curses' makes a sequel conceivable when compared with, say, the plot of 'Hamlet' but none is planned.
If I were to do a sequel, it would be with Sophie as a very old woman and The BFG the same, a bit like that 'Let the Right One' in film.
I'm always the last person they go to with a sequel, because I'm the most skeptical. You know, I'm very proud of what we've done, and I don't want to screw up our series.
And I plan to write a sequel to Dragon Rider.