Movie Quotes

I'm not a film snob at all. I much prefer a really good Hollywood blockbuster than a thought-provoking art house movie because entertainment is sort of where it's at.

Everyone wants to label me, but I don't want to be labeled as a rapper or a movie actor.

Men are less sentimental than women. No man has ever seen the movie THE WAY WE WERE twice, voluntarily.

I've seen Jaws [movie], like, 800 times. And I love it.

That's a weird way to torture yourself. Just watch a movie, over and over, that you hate. That's really funny - that's probably exactly what hell is like.

I love the shared experience of watching a movie with my kids. One of the great joys in life is when we're all laughing together, at the same thing.

I don't think every movie should be in 3D. I hope the Coen brothers don't do their next movie in 3D. I don't think they have any plans to.

About Last Night... [movie] still stands up for me. Like, I'm as proud of that today and still have the kind of faith in it today to show it to a young couple as I did when it came out.

Some of the '80s movies I did are sort of museum pieces. St. Elmo's Fire is great as a sort of kitschy, "Oh, my god, I can't believe we wore that" type of movie.

I feel like every movie is definitely the last one that I've had my moment; that I'm going to be selling autographs at malls.

I happen to be a movie star, but I'm not saying, "Hey, I'm a role model. Imitate me."

I love that movie [The Specials]. I love James Gunn. I always sort of suspected that he would do well for himself.

It was sort of the first movie [The Specials ] where I really got to let my comedy freak flag fly. And everybody in it made me laugh really hard. I wish more people had seen it.

[The Specials ]was always going to be an underground, underdog kind of movie. But I love when people bring that up, because it's very early, vintage James Gunn.

["John F. Kennedy" movie] was just really clever storytelling.

The thing about movie musicals is that there have been some brilliant ones, but when they're bad, they're really bad - big white elephants.

I'd much rather fail than do something like 'The Chorus Line' movie, sanitized and Hollywoodized.

I love thrillers. I've never made them, but I would say a really good thriller is my favorite kind of a movie. If I can get a really great thriller, you know.

Anytime a movie lasts, it's really a thrill. I mean, that people can still pick up on it, and still enjoy it, that makes you feel great.

Horror movies are always a solid dollar. But a movie about Groucho Marx is a gamble. These things just are. Doesn't matter who you are.

I'm never aiming to make a movie like someone else's movie, but in order to describe a movie to someone else who hasn't seen it, you usually have to reference things they have seen.

Every time I start the next movie, it's as exciting as the first time.

When you lock a movie's release date and then move it two months, it's just not good. It's good for everything but the cast, crew, and people who are creatively trying to make a film.

Every time I make a movie I have too many characters and too many locations.

I'd always thought Cage's 'Root of an Unfocus' would be great in a movie.

For years after 'The Last Waltz,' I got all kinds of silly movie offers - or, maybe, not silly, but parts that are not my calling lots of offers to play some wonderful boyfriend.

I made films from the - when I was a little kid, my father bought me a movie camera. I just wanted to. I don't know how. You just learn, you just do it. You just do it.

I was always - I was a movie nut. I lived in the movies, really.

Movie narration in the forties was radically different than the narrative involved in books.

It's weird when one movie that's connected to another doesn't reference that movie at all.

Well, it's like my movie, 'The Apostle.' Some people in the North don't get that movie. They think that, in the South, if you don't shout, you can't play one of those guys.

Because I am known in the horror genre now, I try and do at least one horror movie a year for my fans, my fans have been so good to me.

Doing a movie in Tel Aviv or London or South Africa or Mexico. It's this great second act to my career, and it's a real good time.

I may be a B-movie star, but I work. I'm an actor.

I don't rush out the first day to see every horror movie, but I do keep up on them, because I want to talk intelligently with the fans about them.

I make a star's salary when I do horror, because I can still open a movie in Italy or Spain or Germany.

I really do think you shoot for that beautiful experience of showing your movie in a crowd or room full of people, or even just one person who happens to go to a matinee screening.

I want my movies to play in movie theaters. While festivals can fulfill a part of that, there's nothing like getting a week-long run for your movie. It's becoming increasingly difficult to get that.

...then we went skinny dippin' and did things that frighten the fish... Character, Shelby Eatonton, from the movie, Steel Magnolias.

Everybody wants to be in the next Marvel movie.

Any great movie in the old days has a red herring. Hitchcock was so good at that.

Ten years before Matrix, ten years before Crouching Tiger - I wanted to do a Hong Kong action movie.

I cannot be a character in a bad movie. I can't be.

You feel quite strangely secure [doing any kind of series]. It's the opposite of how you're supposed to feel doing a movie.

There's a thing, in general, about doing any kind of series, especially when the characters remain the same, to go back and try to improve whatever you did in the last movie, which never happens.

With Eclipse, I felt like I was doing a completely different movie and a completely different character. So, yeah, it was nice and challenging.

If I had known that this movie would bring so much craziness, I don't know if I would have said 'yes' to the Twilight Saga. I never asked to be a poster-boy.

I still remember, I think it was with the third movie, when we went to Munich and the entire Olympic stadium was filled with fans, and just to walk in there and do nothing.

I went to do my first big movie when I was 17. I was in South Africa for three and half months, and I was by myself.

I remember, with the third [Twilight] movie, when we went to Munich and the entire Olympic stadium was filled with fans. We walked in there and did nothing.