Sequels Quotes

We live in a country where voting rights get gutted but Sharknado gets a sequel.

Our children are our sequels. Our parents are our prequels. All living beings are our equals.

Were I not married to the director, I'm not sure I'd know anything about the 'Underworld' sequel.

You might have been able to fool people the first time, or something, but you really can't make a successful sequel today unless people really, really liked the predecessor.

I think that building any product that has a lot of user loyalty is a bit like making a sequel to a great movie or video game - people generally want 'more of the same thing, except better and different.

When you're writing for a sequel and there's a movie that's been deemed sacred ground by the fanbase that's the predecessor, you cannot do anything to tread on that, so it's a bit trickier than just being able to sit down and write something.

Great success breeds a lot of things, including sequels.

[The Girl in the Spider's Web] can't be anything other than a sequel, but a couple of books have been skipped, so it is different, in that sense. It's really taking a very strong central character and thinking, how do you execute this? It's quite different.

I'm still an English professor at Rice University here in Houston. They've been very generous in letting me on a very long leash to just work on 'The Passage' and its sequels.

If a character dies, you get to do a big, juicy death scene. But the flip side is you're out of the sequel, which is where the real money is.

Why not dream your own wonderful sequels? When you have finished a book, it can go on in your mind, the characters doing just what you want them to do.

I'm proud of all the movies I've made. They're not sequels, they're not franchises. And the reason I pick my films carefully is that I don't want to spit on my life. I like to think of myself as more than that.

As far as expense, I think if 'Twilight' does well enough, then we should be able to do the big expensive stuff for the sequels. I mean, we have to have werewolves, there's no way around it. They have to be there.

'Evil Dead 1' was never supposed to have a sequel.

From an entertainment point of view, the Solar System has been a bust. None of the planets turns out to have any real-estate potential, and most of them are probably even useless for filming Dune sequels.

I just rely on the text to speak for itself and then speak it as I believe it to interpret it, and then just know that the rules of the world that we're creating allow for things to come to life, and then just trust in the process of making a film. Hopefully we'll make a sequel, because if we do, we had such a great time as an ensemble, I think the best thing to do would be to just take the whole cast back. This is Iain's idea and I agree with it. Just reincarnate all the characters and put them back into the world. There's no rules. Why couldn't we do that?

It's always an enormous pressure when you do a sequel. The demands are so high, and it's expensive.

It's rare that the sequel to a good movie lives up to expectations. Such is the case with Die Hard 2, the somewhat-muddled but still entertaining return of Bruce Willis' John McClane. Fortunately, the original Die Hard was good enough that there's room for the second installment to be enjoyable while still not matching the pace or possessing the flair of its predecessor.

For me, as an actor, the most challenging thing is creating the character in the beginning because you have to write their backstory. The easy part about doing a sequel is that you've done the film, so you already know their backstory.

Audiences can be leery of sequels; the studios make a hit, they see dollar signs, and they make a cheap rip-off.

The only reason I would write a sequel is if I were struck by an idea that I felt to be equal to the original. Too many sequels diminish the original.

At one point I intended to write precursor and sequel novels, about the establishment of the Web and its next evolution, but I am very unlikely to now; they would take place in a different universe.

A human being having a full emotional conversation with a dog is funny, innately. It's one of those things where you get in a scene and you always go for what is the best joke, and a talking dog for some reason, whatever he says, is hilarious." (about his role wiht a talking dog in the forthcoming MEN IN BLACK sequel.

So however much time has passed since Legacy came out would also have transpired in the real world. So it will still be contemporary. So let's say if the Tron sequel comes out later, then four or five years have passed since the last movie.

Artists are just entrepreneurs. It's up to them to figure out how or if they can make a monetary profit from their passion − from their calling, as I discussed above. Sometimes they can. Musicians can sell music, even in the face of piracy. Or they can sell their services − concerts, etc. Painters and other artists can profit in similar ways. A novelist could use kickstarter for a sequel or get paid to consult on a movie version.

The first movie [Grown Ups], people loved it and we felt that there were so many characters and so many good comic situations that there was enough material leftover for us to do a sequel.

I cannot explain why they made that sequel to Secret of NIMH. Because they claim that it the original didn't make money, so what was the enthusiasm to make a sequel?

I do think that at a certain point, the reboot sequel mode has to give way to original ideas and back to a place where, you know, films are, you know, a medium and the cinema is a place you go to see something that is, you know, wholly new.

Taken as a whole, the Chinese revolutionary movement led by the Communist Party embraces the two stages, i.e., the democratic and the socialist revolutions, which are two essentially different revolutionary processes, and the second process can be carried through only after the first has been completed. The democratic revolution is the necessary preparation for the socialist revolution, and the socialist revolution is the inevitable sequel to the democratic revolution. The ultimate aim for which all communists strive is to bring about a socialist and communist society.

A sequel is such a daunting thing, because you don't want to lose the magic and the charm of the first one.

I think Danny Boyle's got it in his head that we all still look too young (to do a 'Trainspotting' sequel.) But, I mean, I don't look like anyone I play, anyways, so I don't really know where that comes from. Because, you know, you change yourself for the roles. I'm actually not Scottish, either!

I was skeptical about doing Texas Chainsaw at first because it's such a cult classic. I'd seen some of the sequels and was not a fan of those.

Before the bud swells, before the grass springs, before the plough is started, comes the sugar harvest. It is sequel of the bitter frost; a sap run is the sweet goodbye of winter.

I'd love to make a sequel to 'The Rocketeer.' The film didn't do as well at the box office as we all hoped, but it has endured and generated a following.

Always drawn to the theatric, Bowie also performed in stage productions of "The Elephant Man" and just recently collaborated on "Lazarus," an off-Broadway musical that's a sequel to his 1976 role in the film "The Man Who Fell To Earth."

Akmon squealed with delight. “I knew you were as smart as Hercules! I will call you Black Bottom, the Sequel!

I'm just trying to think what other sequels there were. There was the James Bond movies and not many. I think sequels have become a recent idea of franchising.

Working with Jim Carrey is an absolute gas. I have never laughed so hard for so long. Had he been on-board for the sequel of Dumb & Dumber, I would've jumped on, with no hesitation.

I feel I have to live a little longer before I write a sequel to my auto biography which covers my experiences up until October 1991.

The truth is when you have a movie that was as successful as 'Chronicle' was, it's not as quick of a process. There are a lot more voices coming in and saying 'This is what the sequel should be' because there's a bigger expectation and a bigger fear of failure. And that's really what's going on with 'Chronicle 2.'

If you look at the best-seller list for American fiction, they're all sequels to detective stories or stories about hunting serial killers. That's what's called American fiction these days.

Clearly any film company that makes a film is always going to talk about sequels particularly if they see something as being successful, which Werewolf was.

As a child, I saw this beautiful film, Dracula's Daughter, and it was with Gloria Holden and was a sequel to the original Dracula. It was all about this beautiful daughter of Dracula who was an artist in London, and she felt drinking blood was a curse. It had beautiful, sensitive scenes in it, and that film mesmerized me. It established to me what vampires were—these elegant, tragic, sensitive people. I was really just going with that feeling when writing Interview With the Vampire. I didn't do a lot of research.

The challenge in scoring a sequel is, how do you not get bored? The only way around that one is to go, "Okay, let's throw everything out that we had before and let's just see it as an autonomous movie, and let's just start again."

Silence is the universal refuge, the sequel to all dull discourses and all foolish acts, a balm to our every chagrin, as welcome after satiety as after disappointment; that background which the painter may not daub, be he master or bungler, and which, however awkward a figure we may have made in the foreground, remains ever our inviolable asylum, where no indignity can assail, no personality can disturb us.

If we do a sequel, I want to beat somebody's ass!

I thought, "why don't we be innovative and create something nobody had ever done before?" It was a huge hit and we immediately did a sequel with Chris Rock, Morgan Freeman, Tina Turner and Maya Angelou.

We live in a culture that insists on "moving on" (even while our loyalty to and love of the franchise and the sequel give away a larger loopiness). But I tend to dwell or obsess or meditate, and I came back to, for instance, the figure of Dickens's "Miss Havisham" with some (self) recognition if not relief.

There are two processes which we adopt consciously or unconsciously when we try to prophesy. We can seek a period in the past whose conditions resemble as closely as possible those of our day, and presume that the sequel to that period will, save for some minor alterations, be similar. Secondly, we can survey the general course of development in our immediate past, and endeavor to prolong it into the near future. The first is the method the historian; the second that of the scientist. Only the second is open to us now, and this only in a partial sphere.

All literature, highbrow or low, from the Aeneid onward, is fan fiction....Through parody and pastiche, allusion and homage, retelling and reimagining the stories that were told before us and that we have come of age loving--amateurs--we proceed, seeking out the blank places in the map that our favorite writers, in their greatness and negligence, have left for us, hoping to pass on to our own readers--should we be lucky enough to find any--some of the pleasure that we ourselves have taken in the stuff that we love: to get in on the game. All novels are sequels; influence is bliss.