There is something about being a director where, for me personally, I get to . . . it’s the closest I’ll ever come to being able to be a stand up.
BARRY SONNENFELDGrowing up, my fascination was all things dinosaur, and as an adult, I’ve had some success making films about aliens, so this is a dream come true.
More Barry Sonnenfeld Quotes
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I had to explain to him that it was a comedy.
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Michael worked one day. Everybody was a little freaked out and nervous because he’s a really big star. We were already working with really big stars, but Michael is Michael.
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When you’re done shooting, the movie that you’re going to release when you’re done shooting is as bad as it will ever be.
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The first cut I do is usually between five and 10 minutes shorter then the cut that we release.
BARRY SONNENFELD -
Anything I think isn’t working or might not work, I don’t even put it in the director’s cut. And usually it’s the studio suggesting I put stuff back in, as opposed to studios saying, “You got to lose 40 minutes,” they are always saying, “You’ve got to gain five minutes.”
BARRY SONNENFELD -
I haven’t read a review of one of my films for the best part of 10 years.
BARRY SONNENFELD -
The weird thing is that I hate to fly, and the quote that I give people is that every time I get off a plane, I view it as a failed suicide attempt.
BARRY SONNENFELD -
I’m not the one or two take guy, but I’m not the 20, 30, 50, 70 take guy either. If I do a bunch of takes, like more than five or six, it’s usually for some technical reasons.
BARRY SONNENFELD -
I was seeing a lot of really good things about Get Shorty when it came out, and my wife pointed out that if you validate the good reviews, you also have to validate the bad reviews.
BARRY SONNENFELD -
They want to let the audience figure things out and let the reaction shot get the laugh.
BARRY SONNENFELD -
And my feeling was if I was going to succeed as a director, I had to just be a director and give up the safety net of being a cameraman.
BARRY SONNENFELD -
I don’t believe in leaving a scene in because it was really hard to shoot, or because it’s the reason you took the movie, or because you always wanted to work with an actor . . . If it’s not making the movie work, get rid of it.
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These movies are like my kids. I just love them to death. Some of them go to Harvard and some of them can barely graduate high school.
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By definition a sequel can’t be original. So you’ve got to figure out what worked the first time around.
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Michael Jackson wanted to be in Men in Black II. He told me he had seen the first Men in Black in Paris and had stayed behind and sat there and wept.
BARRY SONNENFELD