Audiences can be leery of sequels; the studios make a hit, they see dollar signs, and they make a cheap rip-off.
I wanted to play a good guy after doing this lunatic on The Sopranos for two years. And then they did the sequel to Bad Boys, where I get to play the barking captain again.
As far as I know, the guys at Pixar are opposed to a Monsters, Inc. sequel.
Arnold Schwarzenegger has been offered a role in a sequel to 'The Terminator.' In this one he travels back in time and kills the person who suggested he run for governor.
Even if it's a sequel, lots of people have to give their all to make a game, but some people think the sequel process happens naturally.
Before the bud swells, before the grass springs, before the plough is started, comes the sugar harvest. It is sequel of the bitter frost; a sap run is the sweet goodbye of winter.
On playing Batman and his daughter: If I was doing the sequel to Frozen I would be a hero. My two older daughters could give a sh-t about Batman and they've now passed that affection onto my son. He's always like, 'Papa, can I watch Frozen?' And I'm like, 'No, dude, it's not on again!'.
Possibly. I know on set, they were talking about ‘oh, a sequel’ or something. That would be way down the road, because this one we just finished. So, [I’m] not even thinking about that again. But they could be thinking about it. That would be fun.
I was concerned about doing a sequel and repeating myself. That was before I read the script.
The film studios learned to our dismay but to their pleasure that if they spent $200 million making a film they could make half a billion on it. So they were not interested anymore in quality films... They can't afford to be that risky at those prices. Consequently you're getting a lot of remakes, sequels, dopey comedies full of toilet jokes...
That's the hardest thing about doing sequels - you've lost the element of surprise.
Friendship is not always the sequel of obligation.
By definition a sequel can't be original. So you've got to figure out what worked the first time around.
I feel I have to live a little longer before I write a sequel to my auto biography which covers my experiences up until October 1991.
Why not dream your own wonderful sequels? When you have finished a book, it can go on in your mind, the characters doing just what you want them to do.
I am writing a sequel to The Touch because I want to further explore the Chinese question that I have raised. There will be more about that in a sequel.
At one point I intended to write precursor and sequel novels, about the establishment of the Web and its next evolution, but I am very unlikely to now; they would take place in a different universe.
I hate sequels. They're never as good as the first book.
I was aware that I had to pay off things in a convincing emotional fashion, that I had to address the lingering plot points in some real tangible sense, and that I had to make this a self-contained novel, in case I'm run over by a bus tomorrow or in case there's no demand for anyone to ever see a sequel. (Two things that I hope don't happen, incidentally.)
I thought, "why don't we be innovative and create something nobody had ever done before?" It was a huge hit and we immediately did a sequel with Chris Rock, Morgan Freeman, Tina Turner and Maya Angelou.
It was fantastic to be on the set again with Denzel (Washington) and Antoine (Fuqua) and then to have the situation be so different. We weren't making a sequel to Training Day. We were in the middle of the desert riding around on some horses.
We're really soaking every moment in. And, then, you know... should the movie do as well as we all hope, we'll start thinking about a sequel to Deadpool.
I think that the reason you keep hearing that it's the golden age of TV is because original storytelling is happening all the time in that medium, and people are hungry for it. And I'm as guilty as anyone for being part of an industry that is capitalizing on existing stories, sequels, these things that we are seeing again and again and again.
I do think that at a certain point, the reboot sequel mode has to give way to original ideas and back to a place where, you know, films are, you know, a medium and the cinema is a place you go to see something that is, you know, wholly new.
In my head, the 5 issues of A Spoon Too Short comprise one novel: a 100 page graphic novel sequel to Douglas' two Dirk books, taking some of the ideas he was working on before he died, and a whole bunch of new stuff from me and a little from Max Landis (who is the Executive Producer on the book as well as writing the forthcoming TV series).
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