Movie Quotes
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'Crash' is a movie about the racial tension that still exists in America. A lot of us pretend that we don't have preconceived notions and stereotypical ideals about each other, but we do. And we wanted to create a movie about people whose lives crash into each others' accidentally.
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When a sports movie really works, it gets you on all levels, because the stakes are high. It's black and white. It's win or lose.
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Books are my art. The movie is someone else's art. But it's great marketing for books.
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I've been identified with pink throughout my career, but I'm not as crazy about it as I've led people to believe. My favorite colors are actually neutrals—black and white—but then who thinks of a movie queen in black and white? Everything has to be in living color.
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I really do believe we can stuff enough algorithms in a movie that only the dedicated hackers can spend the time and effort to try to plumb through those 1,000 algorithms to try to find a way to beat it.
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I think the role of the Bond woman has changed so much over the years that it now doesn't follow a typical archetypical view. Before, it was very much a beautiful woman who didn't contribute much and who usually ended up getting killed or was arm candy for Bond. But now the women in a Bond movie have so much more to offer.
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Great things that can happen when you're doing a movie.
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But if you believe in Christ and that your main goal with your life is supposed to be to honor Him and do His will, then you don't have as much pressure as someone who bases all their happiness on whether they're a movie star.
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I'm really proud of 'Oceans 12.' Of course, you do an 'Oceans' movie, you get known all over the world. It's an incredibly powerful medium: It's a Hollywood-identified blockbuster.
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I dream in color; it's always a movie and sometimes I'm in it, as myself.
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I love a real-life, movie moment in living color.
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When I did 'Boyz N The Hood', I never thought how we grew up in South Central was interesting enough for a movie.
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I don't really look forward to movie stardom or doing a $200-million movie or winning an Academy Award.
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I often feel that my days in New York City, that I was here for five years, didn't get one job, went on a thousands of auditions and literally did not get a job on a soap, not a movie, not TV, not nothing, although I did do some commercials thank God.
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I think the movie industry has to pay attention that we need to make good quality films, or we are never going to get the business back.
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'Superbad' was such a personal movie.
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I don't want to take names, but there are some people who get everything served on a platter. This is a movie, this is your role, and you have to do it. Some people have to strive so hard to reach where they have and want to.
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The real scares on CNN, etc. and the scares in a movie, like 'The Purge,' are totally different. One of the ways you can tell when someone, whether it's a film maker or executive or producer, wants to make a scary movie but doesn't understand that distinction is they'll want to recreate too much of what's on TV.
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I wanted to make these people real, not like they were in a painting. Like these are people who don't know they're in a period movie. Those concerns are incredibly immediate.
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I remember when I first met Katherine Bigelow for 'Zero Dark Thirty' – actually, we met for another movie, and that never got made, and then she called me and invited me to 'Zero Dark Thirty'.
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I generally don't walk out of films. If I start a book, and I don't love it by page 100, I will stop reading because it's just too much of a time commitment. But you never know with a movie what's going to turn around.
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'Carrie' was a pretty big-budget movie at a real studio, with a director that had already done a bunch of things and had some notoriety, and Stephen King was the writer.
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You have to understand that I'm not just some guy who voices characters in animated movie and TV shows.
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I did a movie called 'The Hole' with this kid Nathan Gamble, so when I'm old and wrinkly, he could play me. He's awesome.
