Best 252 quotes in «movies quotes» category

History is indeed stranger than fiction. The twists and turns of human history are too outlandish for to be believable in any work of fiction.

History is the collective consciousness of the then intellectuals and not just some numbers, time and events.

Hollywood Rule: RULE #1: You only need a license to do three things in the film business: blow up a building, wash someone’s hair, or drive a truck. You need no license, certification, documentation, or, for that matter, any filmmaking experience to be a writer, producer, director, actor, or even a studio executive. All you need is money.

Hollywood's Studio Era was part of a Golden Age because it didn't need profanity (unlike reality-television today)

Hollywood movies, however, have brainwashed us into thinking that we can defeat the alien invaders if they are a few decades or centuries ahead of us in technology. Hollywood assumes that we can win by using some primitive, clever trick. In Independence Day, all we have to do is inject a simple computer virus into their operating system to bring them to their knees, as if the aliens use Microsoft Windows.

Holiness begins in our minds and works out to our actions. This being true, what we allow to enter our minds is critically important. The television programs we watch, the movies we may attend, the books and magazines we read, the music we listen to, and the conversations we have all affect our minds.

Home is what we know we ought to want but can't really take. America is not so much a home for anyone as a universal dream of home, a wish whose attraction depends upon its remaining at the level of a wish. The movies bring the boys back but stop as soon as they get them back; for home, that vaunted, all-American ideal, is a sort of death, and an oblique justification for all the wandering that kept you away from it for so long.

How can you say anything other than Ratatouille is Pixar's best movie? Your a chef, for Christ's sake," Sue said. Lou smiled at Sue's accusatory tone. She needed this distraction. Harley rolled his eyes and said, "You're letting your biases show, Sue. Up uses music better- like a character. The opening fifteen minutes is some of the best filmmaking- ever. And who doesn't love a good squirrel joke?" "But Ratatouille brings it all back to food." Sue waved a carrot in the air to emphasize her point. "They made you want to eat food cooked by a rat! I'd eat the food; it looked magnificent. That rat cooked what he loved; what tasted good. Like I've been telling Lou, we should cook food from the heart, not just the cookbook.

How do you say goodbye to someone you can't imagine living without? I didn't say goodbye. I didn't say anything. I just walked away.

How long does it take to see something, to know someone? If you put in years, you realize how little you grasped at the start, even when you thought you knew. We move through life mostly not seeing what is around us, not knowing who is around us, not understanding the forces at play, not understanding ourselves. Unless we stay with it, and maybe this is a movie about staying with it.

How long is forever? Sometimes just one second

Hugh Laurie (playing Mr. Palmer) felt the line 'Don't palm all your abuses [of language upon me]' was possibly too rude. 'It's in the book,' I said. He didn't hit me.

How you feel after watching something indicates not what you watched but where you are at.

Human Millipede 6 was the highest-grossing movie of the summer and returned Nicholas Cage to Oscar-winning status.

I am slightly offended by the way busy working women my age are presented in film. I'm not, like, always barking orders into my hands-free phone device and telling people constantly, "I have no time for this!" I didn't completely forget how to be nice and feminine because I have a career.

If a fleet of jet-black CHOPPERS ain't cresting over a back-lit hill by the end of Act II, you've got to start asking yourself whether this is a movie or a fucking art installation.

I bet when Godzilla first came out, God was like: "Damn, that name is way cooler.

I could spend whole days at Cinecittà. There, I am the greatest director of all time. On the town side, I reshoot the close-ups for Touch of Evil. Down at the beach, I rework the dolly shots for Stagecoach, and offshore I re-create the storm rocking the smugglers of Moonfleet.

I ask Laurie if it's possible to get trained fish. Lindsay says this is how we know I've never produced a movie.

I can't work in a sewer. I come from California.

I climb behind the steering wheel... I drive off immediately without once looking back; it's a long journey but it leads to freedom.

If I was an eccentric old spinster in a Merchant Ivory movie, I'd want to share my lovely cottage with Holly and that's the truth. I'd do the cooking and leave the decorating to her, and we'd be inseparable.

If I touch a burning candle I can feel no pain If you cut me with a knife It's still the same And I know her heart is beating And I know that I am dead Yet the pain here that I feel Try and tell me it's not real And it seems I still have a tear to shed

If my 'mind' don't mind, I don't mind.

I hate having emotions about real humans instead of fake ones, it just leads to stupid moments like this.

I gave her as much as I had, but it's like the difference between a movie and a book: A book lets you choose how much of the blood you want to see. A book gives you the permission to see the story as you want, as your mind directs. You interpret. Your Alexander Portnoy doesn't look like mine because we all have our unique view. When you finish a movie you leave the theater with your friend and talk about the movie right away. When you finish a book you think. Love grew up on movies and I have just read her a book. I give her time to digest.

I go to the movies because – I like adventure. Adventure is something I don’t have much of at work, so I go to the movies.

I have learned more about people from books, television, and movies than I ever have in real life. I have enjoyed people more that way, too

I grew up in an era that was a golden age of the blockbuster, when something we might call a family film could have universal appeal. That's something I want to see again. In terms of the tone of the film, it looks at where we are as a people and has a universality about human experience.

I have a theory that movies operate on the level of dreams, where you dream yourself.

Lady Sylvia McCordle: Mr Weissman -- Tell us about the film you're going to make. Morris Weissman: Oh, sure. It's called "Charlie Chan In London". It's a detective story. Mabel Nesbitt: Set in London? Morris Weissman: Well, not really. Most of it takes place at a shooting party in a country house. Sort of like this one, actually. Murder in the middle of the night, a lot of guests for the weekend, everyone's a suspect. You know, that sort of thing. Constance: How horrid. And who turns out to have done it? Morris Weissman: Oh, I couldn't tell you that. It would spoil it for you. Constance: Oh, but none of us will see it.

I have watched many movies in my life. But nothing compares to what I live in my daily life.

I kissed my fingers,held my palm flat beside my mouth and blew it into the air that surrounded her memory. I closed my eyes, thinking this was one of those moments you see in movies or read about in books where everything comes together.

I lived through those books, songs, television shows, and movies - the way the characters talked, looked, acted. I thought that could translate over into reality, that I could make their world my world. I wanted so badly to run away from my life. But you can't bury yourself in other people's pages and scenes. You aren't David Copperfield or Tom Sawyer. Those love songs on the radio might speak to you, but they're not about you or the person you pine for. Life is not a John Hughes film.

I love it when you go to see something, and you enter as an individual, and you leave as a group. Because you've all been bound together by the same experience.

I may not find the meaning of life in books, art and movies but I do find the meaning of my life in them.

I met my agent, Sol Leon, for lunch at the commissary, and talked through my concerns. He asked the obvious questions: What kind of films did I want to make? Where did I see myself going in terms of movies? What sort of scripts should he look for? “I’ve thought about this,” I said, “and I’m pretty clear on it. I only want to make movies that my children can see.” “Only kids’ movies?” he asked. “Not kids’ movies,” I clarified. “I want to make movies that I can see with my kids and not feel uncomfortable.

In America, film is the highest form of art that the public aspires to. People will come to me and say ‘Oh, your book was so good, they ought to make a movie out of it!’ To which I reply ‘Well, why? It’s already a book.

I'm only happy when I forget to exist. When just my eyes or my ears or my skin exist.

Morris Weissman [on the phone, discussing casting for his movie]: "What about Claudette Colbert? She's British, isn't she? She sounds British. Is she, like, affected or is she British?

...I might mention my belief that girls who like Woody Allen movies are nicer girls than girls who don't...

In the movies you get even; in life, diplomacy is best.

În spatele oricărei scene extraordinare de luptă stă un coregraf extraordinar care transcende dincolo de orice înţelegere şi exuberanţă!

In the movie I was played by an actor who actually looked more like me than the character the author portrayed in the book: I wasn't blond, I wasn't tan, and neither was the actor. I also suddenly became the movie's moral compass, spouting AA jargon, castigating everyone's drug use and trying to save Julian. (I'll sell my car," I warn the actor playing Julian's dealer. "Whatever it takes.") This was slightly less true of Blair's character, played by a girl who actually seemed like she belonged in our group-- jittery, sexually available, easily wounded. Julian became the sentimentalized version of himself, acted by a talented, sad-faced clown, who has an affair with Blair and then realizes he has to let her go because I was his best bud. "Be good to her," Julian tells Clay. "She really deserves it." The sheer hypocrisy of this scene must have made the author blanch. Smiling secretly to myself with perverse satisfaction when the actor delivered that line, I then glanced at Blair in the darkness of the screening room.

Is there any moment in time when you‘re doing something better than watching Predator/i>?

I put it to the great man [Hitchcock], the key to fictitious terror is partition or containment: so long as the Bates Motel is sealed off from our world, we want to peer in, like at a scorpion enclosure. But a film that shows the world is a Bates Motel, well, that's... the stuff of Buchloe, dystopia, depression. We'll dip our toes in a predatory, amoral, godless unive3rse, but only our toes.

Sense and Sensibility signs litter Devon -- arrows with S & S on. Whenever Ang [Lee] sees a B & B sign he thinks it's for another movie.

Is there any moment in time when you‘re doing something better than watching Predator?

I suspect that a greater and more insidious influence [than violence in movies] may lie in what they tell us about being in love, and how to conduct ourselves while in that condition.

I suspect that I’m not alone when it comes to altering my surroundings depending on how I feel at any particular moment: diving into a specific book, immersing inside a particular movie, devouring certain foods or humming to just the right song.