Donald Pleasence Quotes

With 'Insidious 2,' I wanted to push a potential franchise in the direction I thought it should go in.

I think sequels are fine if there's a story, so I think when there is a property that is worthy of a sequel, it could very well happen!

They're still working on the script - they've got to get that nailed down and they want the first movie to come out obviously, not get too ahead of themselves. But yeah, it's looking good. I love the second book a lot as well, so kind of diving into that is awesome.

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.

Over the years with movies, I've given directors notes.

Initially, when people asked us when 'Toy Story 2' was going to come out, we'd say, 'We have no interest in sequels. We just want to do original stories.'

Although Bill Finger literally typed the scripts in the early days, he wrote the scripts from ideas that we mutually collaborated on. Many of the unique concepts and story twists also came from my own fertile imagination.

Being on set is difficult for the writer. Your job is done, and you have to step back and hand it over to the director.

I think directing in a team is a really good idea because it stops the cult of the director as God straight away, and also you're discussing things on set so it opens it out to everyone and it becomes a totally collaborative thing. And you have someone who supports you when you're feeling a bit insecure.

We wanted to do a sequel with Jim and Jeff. They said that the word was that Jim didn't want to do any sequels. We approached him and he said he would do it, but not until next year. New Line said it was too long to wait.

At Pixar, good ideas may be cut from a film, but they are never forgotten.

I sketched out a rough story for them and the director said, well it's a good story but we have the go-ahead from Universal to make this script and did I want to do it. I said no, and they left.

When I first did 'The Fast and the Furious', I didn't want there to be a sequel on the first one. I thought, 'Why would you rush to do a sequel - just because your first film is successful?'

The truth is, it's a totalitarian dictatorship when you're making films. You are the boss. You can listen to other people, and it can be a benevolent dictatorship, but it's a dictatorship nonetheless. A lot of directors go past their first experience, that's what they've come away with.

I'm one of the lucky directors that pretty much every movie I've done has started a franchise. But I never think this way. I think that's the way you break it, if you go, 'then at the end, at the end we'll see you later.' I was forced to do it in 'Clash of the Titans.'

I never know going in if I've even got a movie to make. Once you start making a film, you hope there's going to be enough material! My job as a director is always to push for more.

I think every director has a different take, some are good, some are bad. The directors you get on best with sometimes don't make the best films, so who's to say who is right.

Lots of shows are written completely in the writer's room. And I wouldn't say 'The Walking Dead' is that way. There are three levels to it. There's us in the room. The writers going off by themselves. And me working with the writers on a finished script.

In many senses, 'Borgen' was a very democratic show. I was always invited to hear the writers' thoughts for the next episodes and allowed to comment on them.

As far as I know, the guys at Pixar are opposed to a Monsters, Inc. sequel.

While I always thought of making sequels to movies like 'Ghayal,' the filmmakers would almost always veto the idea.

Second movies are great because you can drop into them, and it doesn't really have a beginning on it, particularly in a traditional way. You can just tear into it.

By the first week of shooting, you know exactly where your film is heading based on the psychology of your director.

Although filmmaking is collaborative and involves trust, ultimately it is the director who holds the whole picture together in their head.

I had a feeling about directing Cocoon II: The Return. At first I wasn't too interested because it was a sequel. Then I read the script and was excited by the relationships and its mystic quality.