Movie Quotes
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It's weird to get gifted things as an actress because it usually happens when you've made a movie, and you can finally afford something, and then these fashion labels give it to you for free.
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There have been moments where I'm like, 'I don't know how I'm going to survive and pay next month's rent.' And the next month I'm filming a movie in New York City.
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If I'm gonna spend however long it takes to make a movie, give up 14 hours a day for however many weeks or months, then it's very important for me to know that I'm working with people who I respect and enjoy and that we're going for something together.
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I would say 'American Werewolf in London' is like an unconventional buddy movie: even if the buddy dies 20 minutes in, he still remains throughout the picture, and their partnership is one of the best things in the movie.
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Now that this mess is almost behind me – I just have one last request: HBO, when you make the movie about this whole NBC late night fiasco, I’d like to be played by Academy-Award winning actress Tilda Swinton.
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A movie set actually can be a good place to have a family atmosphere.
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I came from doing Wushu and other martial arts, and then I got into movies, and I had to learn that as well - the language of martial arts movie fighting. It's a different thing; it's a different kind of logic.
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I mean, any movie or story that makes you accept and be grateful for something about your life is doing something right.
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Scientology always makes me think of that movie 'V' where that woman takes off her mask of human flesh to reveal her true, alien self.
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My brother Robert wanted to act from a very early age, and there was always a part of me that said we couldn't have two actors in the family because our parents would go mental. So I became a runner for the Robert Stigwood Organisation and, one way or another, worked my way up to movie publicist.
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I love that Bob Dylan asked me to be in the first movie he wrote.
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It's fairly common to get something optioned but really rare to actually see it become a movie.
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How do you shoot a 150-day movie? You shoot it one day at a time.
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When I'm writing a movie, it's usually pretty close to what the movie is going to be, which is just a luxury of being a writer-director.
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Just as good books give me the joys of being alive, bad novels depress me, and as I notice this sentiment coming from the pages, I stop. I also do not hesitate to walk out of a movie house if the film is bad.
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I mean, it was a mummy movie. It was a good film independent of its source. It that looks like Lawrence of Arabia on steroids in a lot of ways.
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In 1958, I was shooting a movie in Florida, and I decided to go to Havana, Cuba, to see what it was like.
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Coming from the industry and maintaining contacts with producers and directors, I am very well aware that costs associated with movie production are a major factor in determining where films get made.
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RoboCop the first movie was fantastic. But even if there was no movie, the concept of RoboCop is brilliant, first because it lends itself to a lot of social criticism, but also because it poses a question, 'When do you lose your humanity?'
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What I think I'm perceived as in France is, like, I'm this leading man always doing strange movies because most of the movies I did, like 'Irreversible' or 'Brotherhood of the Wolf' and a bunch of others, and even in France, they always come out as a particular movie, not like the typical French kind of movies that people know most of the time.
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Our company, it's, uh, really un-sexy. And I think most people get into Hollywood to be showy. We first of all make horror movies, which people turn their noses up at. Second of all, we make cheap movies, and Hollywood's a lot about ego and money and, 'My movie cost $200m!,' you know?
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'Elizabethtown' was a movie made for all the right reasons, and people who connect with the movie really connect to it. It's not the biggest group of people ever, but I still really believe in 'Elizabethtown.' It wasn't, like, a savage blow.
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They all want you to make a movie for under a million dollars, which I don't want to. I don't want to be a faux radical film-maker at 70. I did that. I don't need to do it again.
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If you have a movie coming out, and people are talking about you, the amount of scripts will build.