Rich Moore Quotes

I've been taking my time now between projects looking for stuff that has a little bit more substance, that isn't surface. Some of the films that I've done in the past really were surface.

I think the danger in trying to set too many things up or do too much world-building in a movie so soon is you forget to actually make a movie.

For me, content is paramount, and even if I'm to do a potboiler, the content should be excellent.

We could make the most beautiful film in the world, but if it doesn't have a heart beating underneath it, then no one's going to be interested.

Hollywood has its own way of telling stories. I was just telling stories that I was familiar with. And it's what I want to do in the future: I want to take my audio cinema and put it on the screen.

If a movie is really working, you forget for two hours your Social Security number and where your car is parked. You are having a vicarious experience. You are identifying, in one way or another, with the people on the screen.

Every time somebody tries to go in and reinvent what we do, it always ends up being more about technology and sets, and flash and dash, forgetting the main thing, which is interesting people saying interesting, important things.

What I keep searching for in movies, more and more, is the right gravity.

You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.

Sometimes it's less about the character and more about the story for me. I'll play a rock in the background if I think the story is fantastic and I can be a part of it somehow. That's what I look for.

With anything, and especially with the pallet of viewers in watching anything on TV and film, you have to entertain them.

As filmmakers, we're constantly always looking for something to bring the audience deeper into the reality of the story we're telling.

I love the grandiosity, how sweepingly entertaining films can be. And I think there's a place for films that pry more into the human condition.

Why movies are so powerful is because you are right in there and you stay in there until they want you to come out, and then you've really gone somewhere.

When art in general, and film in particular, succeeds is when it pulls you away onto a voyage. Then it's a good film.

A good story is a good story, whatever the medium.

Better the rudest work that tells a story or records a fact, than the richest without meaning.

I leave the story room to grow into what the movie is driving me to do.

I realized, because I've been doing these very small, character-driven movies, that this is entertainment. This is so much fun.

As a viewer, I really want to watch author-backed stories, and there is something amazing about thrillers, the way it captivates your imagination.

What I want to impart on any movie I work on is I want to make it entertaining. That's what I feel I do.

The content has to be good; medium doesn't matter to me.

I always put myself in the audience's seat, whether it is a film like 'Judwaa 2' or 'Badlapur.' There has to be a message; the core story needs to have a hook, which should be out of the ordinary.

We don't want to make little pop culture ephemera or confections, that sort of thing, and so 'ParaNorman' like 'Coraline' has something meaningful to say.

Every film is a journey.