Andy Muschietti Quotes

On the sequel, you've lost the element of surprise. Usually, on the first one you may not go very, very deep into character; the second one you start to explore the character a bit more.

I like taking a character at the most intense moments of their lives and exploring all that in full and then moving on.

I tend to relate to a character in terms of the arc: what's interesting is where he starts versus where he ends up.

In 'Beowulf,' director Robert Zemeckis uses a technique called 'motion capture' to conjure fantastical things, angles into action and sweeping vistas to stun your eyes and take your breath away. But what he hasn't mastered and what the technique can't do is this: emotion capture.

Emotions serve characters' purposes. That is their motivation.

But I also wanted to give them an intelligent emotional journey, without having to suspend reality - to be able to look at those characters and see reasons for the relationships and why what happens happens.

You are always hoping that movie audiences are interested in characters and interested in story values rather than just mindless special effects. But you never know.

When you can have a character that the audience likes from the beginning, but then you put them in a situation where they grow - I think that gives it a lot of heart.

I felt they had really moved the characters in a direction that was very interesting. The family had really felt the impact of what had happened to the.

The loveliest roles, for me, have a growth arc - a beginning, a middle, and an end - and I'm always grateful when I can find one of those emotional journeys.

I think my job is to deliver the best, most cinematic, rich, exciting, surprising and emotional version of 'Camelot.'

The way that I work as an actress, I always prefer to read the whole story and tell the whole story and feel what the whole story's going to be, the journey for the audience and how it ebbs and flows, the highs and the lows.

You're living with these characters for years and years, you need to have a lock on who they are as people, what they like, what they don't like, what they experience, and what they go through.

I'd rather have Ben Affleck feeling something than twenty minutes of punching CGI Zod. You want moments that resonate with your audience.

Films used to be about challenging, emotional journeys or moral questions that might make you walk away and re-evaluate how you felt about... whatever. Now we're walking out of the cinema really not thinking about anything, other than the fact that the Hulk had a fight with a robot.

Event cinema is what it is, and I understand why it's successful. It started with things like 'Jaws,' which are extraordinary movies. But what we've lost are great character films which are beautifully directed and had great movie stars in them. Films that were about something rather than about spectacle.

Main characters should grow and change during the course of a story.

'Finding Dory' just stole my heart. Little Dory was the most adorable thing in the entire world, and Ellen DeGeneres killed the game. I liked the flashbacks to the past - it gave you a bit more perspective and appreciation for certain characters.

I think we worry way too much about where books should fit inside genres. In a romance, the hero and heroine are on a journey together, and no matter how awful it gets, by the end of the book they'll be in love, with the probability of a happy ending.

If you go to a theme park, there will be so many rides. You will get an exciting experience in each of them. Like that, every film is an experience that entertains you. Some films will touch your heart. Some will touch you emotionally. There is nothing more than that.

I certainly hope they let me make another 'Doctor Strange.' I would do it in a second. I love this character. It's been the best filmmaking experience of my career; I work really well with these guys. It was a rewarding, collaborative process that I would do again in a second.

Every film is a journey.

I'm so freaking happy when I talk to people who saw 'The Greatest.' I love that movie. It was the most intense job.

Dialogues and emotion based movies don't always work.

I once took a workshop with Jim Shepard, and he has this term, 'rate-of-revelation,' that has come to mean a lot to me: 'the pace at which we're learning crucial emotional information about the stories' central figures.' An ever-increasing rate-of-revelation is good; a stagnant r-of-r is not.