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.
One hopeful sign that the filmmakers can learn and grow is that the sequel does not contain a single pie, if you know what I mean.
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.
It's always an enormous pressure when you do a sequel. The demands are so high, and it's expensive.
From an entertainment point of view, the Solar System has been a bust. None of the planets turns out to have any real-estate potential, and most of them are probably even useless for filming Dune sequels.
Preparation is not only about managing external risks, but about limiting the likelihood that you'll unwittingly add to them. When you're the author of your own fate, you don't want to write a tragedy. Aside from anything else, the possibility of a sequel is nonexistent.
This World is not Conclusion. A Sequel stands beyond- Invisible, as Music- But positive, as Sound.
In an industry afflicted by sequelitis, it has taken John Boorman almost three decades to make the sequel to his much-cherished Hope and Glory, but Queen and Country turns out to be well worth the wait.
If you make a good first film and audiences respond, than hopefully you'll have the opportunity to do a sequel.
Storytelling wise, you've gotta take it as far as you can possibly take it with each individual movie. If you're holding out something for a sequel or some cliff-hanger, that's not how I think of a satisfying story.
When I saw 'Blade Runner,' my understanding was that 'Blade Runner' and 'Alien' were sequels to each other - or they were related. They were set in the same world.
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.
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.
With a sequel you're always trying to get bigger and better.
As a child, I saw this beautiful film, Dracula's Daughter, and it was with Gloria Holden and was a sequel to the original Dracula. It was all about this beautiful daughter of Dracula who was an artist in London, and she felt drinking blood was a curse. It had beautiful, sensitive scenes in it, and that film mesmerized me. It established to me what vampires werethese elegant, tragic, sensitive people. I was really just going with that feeling when writing Interview With the Vampire. I didn't do a lot of research.
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.
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.'
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.
For every man who has learned to fight in arms will desire to learn the proper arrangement of an army, which is the sequel of the lesson.
We express our being by creating. Creativity is a necessary sequel to being.
I never had a story for the sequels, for the last trilogy. That's not really part of the plan at this point, and I'll be at the age where to do another trilogy would take 10 years. I'd always envisioned it as six movies. When you see it in six parts you'll understand that it really ends at part six.
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