Oren Peli Quotes
Quotes to Explore
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I'd love to do a movie where the monster is human, where the issue is not otherworldly, or horror or science fiction.
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One of the best animated films I've seen come out of Disney was the Tarzan movie. I wasn't crazy about the story or the design on Tarzan's face, but the traditional animation was spectacular.
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I remember the first time I went to Italy when I was eighteen, I was in Florence and there were all these eighteen, nineteen, twenty-year-olds gliding past on Vespas with crinkly, long, hair, and I thought I was on the set of a movie. I couldn't believe that this was going on and I hadn't known about it before. I was flabbergasted.
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The main concern of the study is with the outline of a theoretical system. Its minor variations from writer to writer are not a matter of concern to this analysis.
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When you're making movies you've got to get obsessive.
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Low budget movies make lots of money.
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We all know guys who've had their hearts broken in real life; we just don't usually see it in the movies.
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I think movie and television companies are in the business of making money, and if you have a franchise, eventually you'll want to exploit that franchise and revisit it. So I assume at some point someone will do another story in the 'Lost' world.
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There's nothing more American than movies.
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I, for one, am tired of seeing movies about men damaging each other.
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I watched a lot of old movies. Clint Eastwood movies, a lot of John Wayne films, a lot of movies that celebrated the region of where I lived.
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I went to Yugoslavia to make a movie. People saw me there and asked me to do a movie in Germany. And that led to a movie in Italy. Before I knew it, I was in Europe for most of the next 10 years.
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People talk about Hollywood as a myth, but in reality, when you make Icelandic movies and you want to get them distributed in the U.S., you're not really working with Hollywood. The movies I've been making, the first one I made, I made it with Working Title, but it was financed through Universal, so it became a Hollywood production.
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Now, I just made an animated movie a few years ago, 'The Tale of Desperaux', and that had twelve hundred shots in it. Twelve hundred CG shots is a pretty big plan.
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I sort of approach wrestling the way Johnny Depp approaches movies. I don't really care necessarily what I'm portraying.
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I never really feel wrong while making movies. I know myself, and I know that my intentions are pure and I'm on the side of righteousness.
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We tried to approach this as though there's never been a Superman movie before, but at the same time respecting the canon and mythology. There are the pillars that you have to respect, and I'm not about to break them. But it is fun for me to bend them and mess with them.
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You have to do your own growing no matter how tall your grandfather was.
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Everything can change, but Indian movies will not change much because we're so used to the dance and songs and everything. Even Americans are getting very attracted to all this.
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Nothing scares me about marriage.
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I caught hold of the great bull market in soybeans in 1977. I had no idea what I was doing, incidentally.
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In common with many who have a brain injury, I initially lost my confidence and felt very vulnerable, as if a protective layer of skin had been stripped away.
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I want to change the pop world one sequin at a time. Artists tend to take themselves way too seriously and don't enjoy the fun of making an impact on culture. I just have a good time and sequins represent a good time.
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Almost any movie, no matter how original, is borrowing from some other movies.
