Movie Quotes
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It was funny to run into girls I knew after the movie came out because they would say, 'I saw you on 'Magic Mike,' but there was this look of embarrassment. It was very cute.
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I especially like girls who know how to share the conversation, and not just talk about themselves. I think a movie, followed by dinner is a perfect first date. For a romantic date - ice skating.
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Actors, movie stars, rock stars, I can meet them with no worries - but with footballers I go weak at the knees. All of them.
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Acting and recording an album at the same time, that's not my sport. I could write a movie when my attention was paid to that. But I'm good at one thing at a time.
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I love 'The Orphanage' because the concept is so cool and the story is told in such an interesting way. It's a movie that will scare your socks off but make you cry at the end. It's one of the most tragic movies I've ever watched and is truly heartbreaking and scary at the same time.
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I'm trying my hand at directing. I'm doing an independent movie that we haven't started casting yet, but it's like an edgy version of 'Lethal Weapon' and '48 Hours,' only with two women in it.
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When I saw the movie, I said, I wish I had heard the music. I would have ridden the horse differently.
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I really like conducting my music in concerts because I'm convinced it's not just for films; it has its own life. It can live far away from the images of the movie.
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I'm vain enough to want do a movie again, but right now more roles are the last thing on my list.
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The funny thing is, I've never really hurt myself in an action movie. I've done 'Wanted,' 'X-Men,' 'Welcome To The Punch,' even 'Trance' to a certain extent has little bits of action and stuff, but I've never really hurt myself at all - not even like a sprained ankle.
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People of all ages know every line of that movie, ... Everywhere I go people run up to me and either begin telling me lines from that movie or ask me to do lines as Frau Blucher.
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The movie has called it closed. I'm not saying I won't ever listen to 'Les Miserables' again. But it closed the door for me. It's gone its own way.
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In a way, the truth is that I was dreaming to do a movie in the United States just because, as a filmmaker, I always loved the idea of trying to make movies in a different culture, in a different way. It's always interesting to make a movie abroad.
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We did 'The Simpsons Movie,' which took almost four years; it was the same people that do the TV show, and it just killed us. So that's why there hasn't been a second movie. But I imagine if the show ever does go off the air, they'll start doing movies.
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The story is also about the battle between Arthur and the Saxons. The Saxons were destroying everything they came across and Arthur was left when Rome was falling because this movie takes place in 400 A.D.
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'ABCD...' was a dance movie, but it had an emotional story, and now 'ABCD 2' is a very emotional film, too.
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Even if there were no illegal copying, the advent of digital distribution will put a lot of stress on the movie and music industry. When the distribution costs comes down, that puts more price pressure on the rest of the cost.
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I just hate that Lucas... and it is not just Lucas, because everybody does it, where, boom, they get it out, and then there's a special edition for a movie that doesn't deserve a special edition.
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I love a lot of these older actresses, like Cicely Tyson, who played Kunta Kinte's mother in 'Roots.' She was really great, and I like seeing her because every movie she plays, she plays a strong character. As a kid, she was really inspiring to me.
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As a child I always steered clear of science fiction, but in the autumn of 1977, the bow-wave of publicity for the first 'Star Wars' movie had already reached me, so I was eager for anything science-fictional.
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I'm like, 'What world am I living in?' Aren't movies made to have something to say? Why make a movie if you don't have something to say? What are you doing it for? Are you doing it because you want to make a lot of money?
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We're the country of movie stars because the stars, like ourselves, represent a kind of extended infantilism, beauties waiting for the big chance.
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So much of it is the design of the shot or the motion of the character; it's the work you do so that it has the same things that are in the movie. In just a few frames it's got to communicate something clearly and dramatically.
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If I'm in the bookstore, and I see a 700-page novel, my first thought is, 'Ooh, how could you cut this down to size and make a movie out of it?'
