Best 38 quotes of Todd Phillips on MyQuotes

Bangkok, like Las Vegas, sounds like a place where you make bad decisions.

Comedy is so subjective. You could be in a room with 400 people laughing at a joke and you could just not think it's funny. You're just sitting there like, 'Am I in the twilight zone? Why is everyone laughing?' It's such a personal thing. People have such a personal visceral response to comedy.

Directors tend to be more underrated than overrated because it's a quiet job and people don't really understand it.

How many days do you have that are just purely dramatic? How many days do you have that are just purely comedic? It's usually a combination and I think that's what real life feels like.

I don't have a horror film in me just because I don't like to be scared. But I definitely have a documentary in me, and I certainly have dramas.

I got nominated for an Academy Award(R) for writing 'Borat.'

I grew up raised by my mom and my two sisters, so I never had a real male influence in my life. I never really understood heterosexual male relationships.

I just thinks it's interesting what it takes an actor to find their characters through the wardrobe, or the hair, or the way a character walks.

I like - there's a better word for it, but I like the danger that a comic brings to a role. It has a feeling, even though everything's scripted and everything's planned what you're going to do. When I see Will Ferrell or Sacha Baron Cohen, there's a feeling that anything could happen.

I make decisions to do movies based on the cast. I'd just been working with Zach Galifianakis on 'The Hangover', and I was thinking, I've got to find something to do with this guy immediately.

I'm not worried about young people seeing an opportunity and taking advantage of it.

I never had a ton of male friends and it's always been something that's really interesting to me, what brings guys together? The bonding. 'Old School' is a good example of that. And even 'Starsky' and even 'Road Trip.'

I really got into filmmaking through photography.

I remember that when I got to NYU, everyone was writing scripts. But I was 18 at the time, and when you write a script, so much of it is about what you pull from life, and this sounds sort of cheesy, but I felt like I didn't have enough life experience at that point to write a movie.

I take it very seriously, music. I think it's one of the tools that a director has with which to kind of paint. The right music can sometimes do five pages of scripted dialogue.

It becomes pretty crystal clear once you watch that first assembly [movie cut] the things that are just grinding it to a halt, so to speak, or slowing it down, or getting in the way, yeah.

I think a lot of American comedies tend to apologize for their bad behavior in the last 10 minutes of the movie.

I think comedy directors tend to feel a need to justify the bad behavior, and I just never think that. I like bad behavior, I've always liked bad behavior, I'm a fan of bad behavior, and I don't think you have to justify bad behavior.

I think people like comedies and I think concept driven comedies seem to be working when it's a clear concept and you deliver funny stuff.

I think reviewers have become particularly venomous because, in a way, the power has been sucked from them. A 15-year-old can write a review on the Internet and it means as much as Roger Ebert's review, and that just makes Roger Ebert mad, so he comes out harder and stronger.

I think that 'Hangover II' is as funny as 'The Hangover I,' honest to God, but I think that it's a little bit darker, and the stakes are a little bit higher.

It's all about escapism. That's essentially what all movies are about. It's a vicarious thrill.

I was raised by my mom. She taught me how to be a gentleman; nobody in the movies taught me. I think people are raised by their parents. If you're raised by movies, it's a whole other set of problems. I don't think it's as simple as me saying movies are meant to entertain, but I certainly don't feel moral responsibility in putting this out in the world and being like, "OK, this is going to affect how guys make decisions because they see some of my films or whatever." I just don't.

John Goodman's pretty dark - I love John Goodman.

Music is just one of the tools a director has with which to paint and I think it's one of the most effective.

My dog's a gentleman.

Reality television hasn't killed documentaries, because there are so many great documentaries still being made, but it certainly has changed the landscape.

There's a darkness under 'The Hangover' because ultimately there's a missing person and it's not really that funny. There's a sort of darkness under it that I love, and still people are laughing as hard if not harder than they did in 'Old School.'

There's such an awkwardness to most heterosexual male relationships. You see women who are friends, and they kiss each other good-bye, and they're just so much warmer with each other. But there's this thing with guys where, even between best friends, there's a standoffishness.

To make a movie about mayhem, sometimes you have to go to mayhem.

Well, it's so cheesy to say but you can't find a comedy director who makes movies for critics. When a movie does $580 million worldwide, I'm not saying that proves anything except people were enjoying the experience.

What it boils down to is that when you say the word Las Vegas it means something. You could say New York City and it doesn't really mean anything. When you say a word like Bangkok, in my mind it means something. There's not a lot of cities where the world literally brings a picture to your mind.

When I was in NYU Film School I drove a taxi in New York for two years, I felt like I owned my own business with that little taxi.

When I was younger I was obsessed with 'Star 80,' and it's just a great movie - I think I saw it three times in the theater.

You know, because you outline a movie, it kinda comes at the same time. I mean, there are days when you are just concentrating on 'ok, let's worry about just comedy today,' and there are days when you're like 'you know what, we gotta just beef up the story.'. But, it's not like process wise it's that technically separate. One informs the other, so they kinda all happen together ideally.

You know, if I started worrying about what the critics think, I'd never make another comedy. You couldn't pick a less funny group than critics - you couldn't find a more bitter group of people!

You're only as good as your body of work, and everybody has issues, whether it's Steven Spielberg or Martin Scorsese. I'm not comparing myself to those guys, but you learn more from the misses than the hits.

You set the tone on the set that you want to see in the film.