V: Tell me Evey, do you know what day it is? Evey Hammond: Um, November the 4th. V: [Big Ben begins to toll midnight] Not anymore.
[from trailer] Sergeant Calhoun: "Fear" is a four-letter word, ladies! You wanna go peepee in your big-boy slacks, keep it to yourself!
Vanellope von Schweetz: Hey, why are your hands so freakishly big? Wreck-It Ralph: Uh, I don't know. Why are you so freakishly annoying?
[Book is having trouble milking a cow] Eli Lapp: You never had your hands on a teat before. John Book: Not one this big. [Long pause; then Eli Lapp roars with laughter]
The main thing in measuring integrity is someone's motive and intent, not how many records they sell. Our intent in Ministry was never to be big. We just wanted to make enough money to live and to buy a studio, which we have done in Austin.
My parents made no money whatsoever, but they really knew how to see, as artists. So a big adventure might be, on a hot, dreadful day with no place to go, to go out and draw our chickens with pastels. My parents gave me a sense of wonder.
I'll bet there are a lot of artists that nobody hears about who just make more money than anybody. The people that do all the sculptures and paintings for big building construction. We never hear about them, but they make more money than anybody.
The one benefit of having done all kinds of movies as an actor is, you learn the pros and cons of being tempted to do a really big movie because it costs a lot of money.
When they make a woman's picture, they treat it like a 'woman's picture.' In the '40s, they didn't treat Joan Crawford movies like that, but as the big movies of their year. I'm upset that there's no 'Terminator' with a woman in Arnold Schwarzenegger...
And I like being able to go back and forth, and I don't really care if it's a small budget or big budget or studio or independent, as long as it's got a story that's compelling and there's enough money to make the picture.
Even the people who have had success and made money writing these books of fiction seem to feel the need to pretend it's no big deal, or part of a natural progression from poetry to fiction, but often it's really just about the money, the perceived p...
This dilettante notion that the global economy is evil because big corporate leaders make too much money... they do make too much money, but the only way we've figured out how to generate wealth in this world is through the market economy.
You can work and scratch out a living in the theatre, but, if you want to make money, you've got to hit the road. You've got to play big houses of 2, 3 thousand seaters with your name above the bill, do popular fare and reach out to the audience such...
The Clintons want to do big worthy things, but they also want to squeeze money from rich people wherever they live on planet Earth, insatiably gobbling up cash for politics and charity and themselves from the same incestuous swirl.
I really wish there was some big brother conspiracy theory. I just think it's the ignorance of trying to make a dollar. That's what the networks have done and will continue to do. If anyone doesn't think that this is about making money, then they're ...
I'll admit, sometimes I've paid the bills with acting. You know the phrase, 'It's one for the money, two for the showreel.' I don't want that as a director. I don't want to compromise myself. There's a big old wide world out there. I want to explore ...
The happiest I ever been was when I was a struggling actor. I've had big houses and small houses. I always had work available for most of my career. When I actually had to find jobs to make money, that's when I was happy.
I had a group of Hispanic Americans come into my office in 1976 who worked in a Denver packing plant. They had just been fired by their employer who turned around and hired illegal aliens for a lot less money. That had a big impact on me.
The fact that people still know us is, in my opinion, a result of our music and of the big money that runs the music industry today. The people who control the industry are accountants who recycle everything in new, nostalgic packages, and everything...
I always thought I'd buy my mother a house if I ever became successful - a big, beautiful house on the nicest street in town. It didn't exactly work out that way. I was still borrowing money from her in my 40s.
'The Piano Lesson' is very sophisticated, easily the most adult or complex material I've attempted. It's the first film I've written that has a proper story, and it was a big struggle for me to write. It meant I had to admit the power of narrative.
