Barry Sonnenfeld Quotes

The impossibility of a sequel ever recapturing everything - or anything - about its ancestor never stopped legions of writers from trying, or hordes of readers and publishers from demanding more of what they previously enjoyed.

In my mind, it's always easier to do a sequel than an original.

There's a special gut-check moment the first time you write a scene in which somebody casts a spell.

I feel like every time I write a song, it feels like the first time I wrote a song. It's just as hard; it doesn't get easier, but that's why I love it: because it's a challenge every time. I also feel like I'm learning new ways.

And one thing Hollywood does well is sequels.

You can't wait for someone to give you a show. That can't be the first time you're writing and drawing a character.

Like a lot of people, for a long time I thought that the road to hell is paved with bad sequels.

Luckily, with 'The Collector' the first time around, it really took off in the DVD world and foreign, so it was just a pleasant surprise that a couple of years later there we were, doing it again.

It's always scary when you're doing a sequel to a film, because you don't want to just repeat the first film in a different location like most sequels. You want to do something totally different, and something that actually expands the world of the main character.

The more I act, the harder it gets, since I feel like I still have so much to learn. Whenever I embark on a new project, it always feels like the first time. If it were easy to me and I felt like I knew everything, my acting might have been different. I think the feeling of 'newness' keeps me on my toes and concentrated.

I think sequels should be earned and we won't do it unless the script is better than the first one.

You have to be very careful when you're working on a sequel, because it has to be a continuation of what you did before.

I had an invitation to contribute a track to a Robert Johnson tribute album, and it was the first time I'd done anything like that in my life. I was not brought up with the blues or anything like that, and I really, really enjoyed it.

I don't like sequels at all. If the movie's good the first time, why bother?

Maybe Oliver Stone doesn't lend himself well to remakes or sequels, because he does them so well the first time.

It's fun to twist fairy tales, but at the same time, I know I need to write stories that are different enough from each other that fans don't feel like they're just reading the same story over and over again.

'The Conjuring' was a massive success, and honestly, it set the bar quite high. So I was nervous about making the sequel, and I wasn't sure if it will still have the same impact as the first one did. But that's what moved me to make the sequel.

Believe me, sequels are just as hard to make as original films.

If you're going to make a sequel to 'Sicario', you have to - you know, you've got to go beat a brand new path.

We knew no matter how well 'Phir Hera Pheri' does, it would always be compared to 'Hera Pheri.' Yet, we took it as a challenge.

I've just had this idea pop in my head of trying to learn a new song every da, and try and play it that night. That's been fun for me because it's a little bit of a scary adventure, playing a song for the first time in front of people and letting it just be what it is.

I want to encourage Filipino artists to be original, write your own songs and don't be afraid to go outside the box and try new things.

TV show is always challenging. It's challenging when you have all of the time and money in the world, and it's more challenging when you have less money.

My characters have nothing. I'm working with impotence, ignorance... that whole zone of being that has always been set aside by artists as something unusable - something by definition incompatible with art.

The danger that keeps me just a little frightened with every book I write, however, is that I'll overreach myself once too often and try to write a story that I'm just plain not talented or skilful enough to write. That's the dilemma every storyteller faces. It is painful to fail. But it is far sadder when a storyteller stops wanting to try.