Samuel Witwer Quotes

I was in love with the British 'The Office', so even though I love Steve Carell, when they were going to remake it, I was like, 'This is not going to work. I'm going to completely veto this show. I am not going to watch this show.' But now, I love it.

I think a lot of fans immediately go, 'ugggh' when they hear that someone is doing a prequel or a remake, they sort of assume the worst sometimes.

I've always avoided sequels, unless I felt there was something fresh.

If you're playing with somebody from another idiom, you can't react to them in the same way that you react to somebody that is closer to your idiom. You don't fall into the same habits. You find a new way of communicating.

The movie wasn't really derived from Dark Shadows - they developed a whole new script for that particular one.

I made 'Siam Sunset.' In Australia, it was pretty much universally hated, but I did notice that almost any American who saw it loved that film, so in 2001 I made a film in America called 'Swimfan,' and they released like a big studio movie, and it made money.

It's always that tricky thing with a remake, especially when it's something that's well loved. You're coming to something that has a built-in fascination, but with that comes people ready to feel disgruntled that it's being remade at all.

I wish someone would redo 'Dune.'

The American audiences are more vocal and enthusiastic. British audiences tend to sit back a little more.

I'm really not worried about what fans think.

I say the same thing that I've said for decades now, which is: don't go over to Japan trying to change it, thinking that you know better. Go there trying to understand.

I'm not a big fan of remakes. I never wanted to do a remake.

Oh, you know, I think it was definitely a little pressure, to remake something like 'Fame'.

I'm inspired when I find out about something that I didn't know was a remake. An example is, of course, stuff like 'The Fly,' or 'The Thing,' or even 'The Blob.' For our generation, all those things, whether it was 'The Blob' or 'The Fly' or something else, we had no idea they were remakes.

Nobody wants to make a bad 'Flight of the Navigator' remake. There's just no interest. We're going to do it if it's good.

London audiences are tricky, too. They don't laugh as much as the Northern audiences because, and I hate to say this, they are a bit cleverer normally, and they are picking up on all the little details and listening more carefully.

Let's just say that I don't think our show has very much in common with the book any more.

I am always attracted to the moments when a person who is associated with a certain message, image or sensibility evolves. I am very interested in how audiences respond to that maturation and absorb the evolution.

I think writers from both East and West have long been fascinated by the ancient tales and the opportunity to reinterpret them.

When you do a remake, there's a lot of pressure because people always love the original.

American audiences tend to be more expressive than British ones.

Another thing that really excites me: I'd like to do multiple versions of the same film.

As a Western, 'The Magnificent Seven' was a pretty good film. I don't think it was as interesting or as multi-faceted as 'Seven Samurai.'

A lot of the time, the scripts you get to read are remakes or reboots or sequels or prequels.

I'm just the second Bodhi. I think there will be more. I have the feeling this is only the first re-imagination of 'Point Break'.