I just graduated from high school, and I was working at Blockbuster. Not only did I get into movies while I was there, but I was putting away boxes and looking at the kids on the covers. It felt like windows into these seemingly perfect lives.
The problem is this: in order to make money- lots of money- we don't need flawless literary masterpieces. What we need is mediocre rubbish, trash suitable for mass consumption. More and more, bigger and bigger blockbusters of less and less significance. What counts is the paper we sell, not the words that are printed on it.
Mind you, if a blockbuster movie was offered, I wouldn't say no. I can do accents - I don't always have to be Scottish.
What I love about the 'Alien' franchise is I would do all kinds of films - dramas, comedies, whatever - and every now and then I'd be in this science fiction blockbuster that would re-introduce the character and me to a lot of audiences around the world and allow me to go back and do the smaller films again, so it was really a good balance for me.
There are a lot of movies I would want to be a fly on the wall for. I would have loved to see the making of Jaws [1975], with all the fears and anxieties it was going to be a complete failure, and then to have it turn into the first blockbuster.
Summer blockbusters are very expensive to make. They have things that have to be expensive, such as 600 effects shots or CG characters that have to go a certain way, or a film design that is different but expensive.
When I first started writing for television in the seventies and eighties, the Internet didn't exist, and we didn't need to worry about foreign websites illegally distributing the latest TV shows and blockbuster movies online.
Blockbusters run the mainstream industry. We may never again have a decade like the 1970s, when directors were able to find such freedom.
I'm going to miss Blockbuster. I'm gonna miss being CEO and all that stuff. We had an atmosphere where everybody was happy. When people make money, they're happy.
Futurists are already predicting the day mankind builds its replacement, Artificial Intelligence. Daniel Wilson shows what might happen when that computer realizes its creators are no longer needed. Lean prose, great characters, and almost unbearable tension ensure that Robopocalypse is going to be a blockbuster. Once started I defy anyone to put it down.
Being at the pinnacle of my career is not to turn up in some multiplex blockbuster.
As far as acting in films, there is not much out there that is very interesting to do. The ones that are interesting to me are independent films and they have trouble raising money. With people putting their money into blockbusters, there is not much left for the independents.
One of the more noble things the Oscars can do is pay attention to movies no one knows about. Blockbusters don't need much help.
In 2006, the Blockbuster board got together and said, ‘Do you know anyone using Netflix.’ …Look how that worked out. That is what happens when you put ten 80-year-old guys in a room…Be on record. Be on the right side of history. You don’t want to be the person that supported the Blockbuster decision.
In an ideal world, I'd bounce between big projects and no-budget TV dramas with fantastic scripts. A lot of Hollywood films tend to be bloated, bombastic, loud. At the same time, I do like the infrastructure of making a blockbuster; it's like having a big train set.
I think Paul Newman had an amazing career. I also love what Tom Hanks has done. He has always made very grounded movies that have something to say. He has found a way to make blockbusters that are about something and that is what I want to do.
I got completely fed up with that Hollywood blockbuster mentality. I couldn't take it seriously any longer.
It's weird how your perspective changes. At the start of your career, you think, 'I just want to do cutting-edge work that makes people think.' Now, I would do a blockbuster in a heartbeat.
But, surprise - none of these blockbuster events made the slightest dent in Ben Graham's investment principles. Nor did they render unsound the negotiated purchases of fine businesses at sensible prices. Imagine the cost to us, then, if we had let a fear of unknowns cause us to defer or alter the deployment of capital. Indeed, we have usually made our best purchases when apprehensions about some macro event were at a peak. Fear is the foe of the faddist, but the friend of the fundamentalist.
I've found myself moved by letters and diaries in archives as well as trashy, summer blockbusters. It's possible to make a connection with any kind of writing - as long as the writing is good.
Basically that you can do anything. If you pool your resources,and just give up the idea that you're going to act like a normal person or sleep, if you want it hard enough and do it well enough, it happens. A lot of really talented people either sort of get crushed under the wheel of the movie studio system or desperately try and get their next gig in TV. I understand why, because we've all got to put food on the table and the brass ring is out there, we'd all like to be making the Emmy-winning shows and the blockbusters and all that, but at the same time you could be doing stuff yourself.
Often when you get a really good script, and you receive the new pages, you see that the entire thing has been dumbed down. Films in the '30s and '40s, that were huge blockbusters, were very sophisticated in their language, and the ideas they brought. There were no questions about whether the audience would get it or not.
Quality is subjective. There are quality blockbusters; there are quality versions of every genre and it doesn't necessarily mean money.
We've kind of grown up in a post-Star Wars era, and what Star Wars did to cinema, in terms of an explosion of that kind of blockbuster culture. It's thrown up a generation of geeks. With the evolution of computer games and the Internet, that's all impacted on us as a generation, and affected the creative element of that generation enormously. So whereas the different schools of filmmaking...
I believe in Mexico there's a big culture of moviegoing, both studio and indie. I think here in the US that's not the case because Latino communities don't have access to indie films. If you go into communities of color you will only find the big theater chains which only play the blockbuster genre films.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: