Sequels are very rarely a good idea, and in any case, the success of the book changed my relationship with the club in some ways.
We had to do the same thing here. To top that sequel was quite a task. Mike had a couple of good conceptual humour and character ideas, which got me back into it.
I don't know if I would do sequels. I almost feel like when I'm done with them, they're going to have to find their own way.
I was skeptical about doing Texas Chainsaw at first because it's such a cult classic. I'd seen some of the sequels and was not a fan of those.
When you're an actress, there are only a few times you can really get paid. One of them is doing a sequel. They can't fake you or hire another actor to play you.
I would love to see a sequel to 'The Rocketeer.' I'd love to see that! I don't know that I would be in it. I may be a little long in the tooth to play 'The Rocketeer.' But I would love to be a part of that in some form or fashion.
When you're writing for a sequel and there's a movie that's been deemed sacred ground by the fanbase that's the predecessor, you cannot do anything to tread on that, so it's a bit trickier than just being able to sit down and write something.
I'd love to see a good script of one of my books, in these years of animations and comic book sequels, and had so many written over the years, but none quite clicked.
I don't write any kind of sequel or remake.
As far as expense, I think if 'Twilight' does well enough, then we should be able to do the big expensive stuff for the sequels. I mean, we have to have werewolves, there's no way around it. They have to be there.
The time has mainly gone on getting Inform into a decent shape for public use. I suppose the plot of 'Curses' makes a sequel conceivable when compared with, say, the plot of 'Hamlet' but none is planned.
I've always made sequels, even when I was making Super 8 movies if the audience liked it.
You sign for a sequel for everything these days, just in case, options. In the past, you avoided them like the plague because it meant somewhere down the road you couldn't take a job because you had to do a sequel. Now it's a feature of pretty much any feature you do.
The truth is when you have a movie that was as successful as 'Chronicle' was, it's not as quick of a process. There are a lot more voices coming in and saying 'This is what the sequel should be' because there's a bigger expectation and a bigger fear of failure. And that's really what's going on with 'Chronicle 2.'
With a sequel you're always trying to get bigger and better.
I'd love to make a sequel to 'The Rocketeer.' The film didn't do as well at the box office as we all hoped, but it has endured and generated a following.
A magical blending of mystery, romance, and deep and dangerous secrets. Kelly Parra’s Invisible Touch is an action-packed coming-of-age novel, sure to keep readers turning pages and begging for a sequel.
It's always an enormous pressure when you do a sequel. The demands are so high, and it's expensive.
Sequels are not done for the audience or cinema or the filmmakers. It's for the distributor. The film becomes a brand.
I'm still an English professor at Rice University here in Houston. They've been very generous in letting me on a very long leash to just work on 'The Passage' and its sequels.
Though the Jazz Age continued it became less and less an affair of youth. The sequel was like a children's party taken over by the elders.
And I plan to write a sequel to Dragon Rider.
I never thought about doing a sequel when I was actually writing 'The Magicians.' I only ever considered it a standalone.
But, George and Steven asked me to write the Indiana Jones sequels, and I didn't want to.
I have to stay interested. I can't do the same thing over and over again, which is why I don't do - I've made sequels, but it's the movies that are not sequels that I enjoy the most.
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