Movie Quotes
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The idea of getting to make a movie like the ones that impacted me as a child is my life's dream.
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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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That's what happens when you're making a movie, you find yourself really loving all these people sitting across from you.
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I don't have incredible knowledge about films or of filmmaking history; I'm not that kind of person.
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It was just crazy opportunity to see that whole world and the competitions that we had in the film, like Long Beach, it was just crazy and so much fun. I felt like I lived all those moments in the movie.
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When you do a first movie, you're contractually supposed to do the second one and then you don't do it, you become an executive producer. That's why there are a ton of directors who have executive producer credits on other movies.
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I was so amazingly witty when I had the No. 1 movie, you have no idea. People laughed at every single one of my jokes. Then when I hadn't had a hit for three or four years, some of these same people pretended they didn't see me when I walked in the room.
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Writers are so used to books being optioned and then the movie never happens.
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I like 'The Fault in Our Stars.' I thought those two guys did a really, really good job. The movie obviously did really, really well.
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If you're a film studio, you're making a movie for a foreign market. You're pursuing ideas that travel well. It changes the movies we see and how movies are made.
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Any asshole can make a good movie for $100 million. I think it's way harder to make a movie with no money, and to start with no contacts and work your way up to international productions.
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I didn't come to Hollywood to be the girl next door. I came to be a movie star.
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My theory is that there's a knee-jerk reaction against technology in movie making.
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A great script might come my way, and I could be in the middle of music. So, it's a huge choice that I have to make - if I'm going to go do a movie or if I'm going to turn it down - because it could be an opportunity that could send my career through the roof, and you never know.
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You know for years before the notion of sequels, actors were the franchise. John Wayne would rarely do sequels, but he kind of played the same guy with a different name in every movie. I have no problem with using actors as franchises. And that's what is fun to do.
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Artists who are relevant today won't be tomorrow unless someone does the right thing by their character and preserves it in the dialogue of a movie.
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Unless you're trying to make a movie on the sly, there's no way to get around this. If you want to use public spaces, film on the streets, have the cooperation of the police, you have to have a permit.
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It's always nice to do a family movie, because I do a lot of R-rated stuff.
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Sometimes Hollywood manages to knock a movie in its teeth so hard that it never manages to get back up.
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Early in your career, you feel like there is a formula, a path you have to take. You have to do this movie because this person directed it and you have to be associated with these people. In some ways, I have thrown that out.
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It would be far less interesting, after 'The Empire Strikes Back,' to have an hour-long movie in between 'Empire' and 'Return of the Jedi,' where Luke is training. It's so much cooler to cut from end of 'Empire' to beginning of 'Return,' where he's become the Jedi.
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I feel like, whatever movie I was making, there would always be moments of human intimacy and insight into a little bit of what makes us tick as people.
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Material Girls was so different for me, I'd never done a teen movie.
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The running across the field thing, that was the first scene we shot in the movie. We asked the audience to stay for the scene, and 37,000 people stayed.
