Red 2 Film Quotes & Sayings

Either you're going to shoot us or you're not. The ball always lands on red or black, never both. — V. Alexander

She walks into my life legs first, a long drink of water in the desert of my thirties. Her shoes are red; her eyes are green. She's an Italian flag in occupied territory, and I fall for her like Paris. She mixes my metaphors like a martini and serves up my heart tartare. They all do. Every time. They have to. It's that kind of story. — Catherynne M Valente

I love the Cannes Film Festival. From the lavish parties and events to the red carpet attire, this star-studded week-long event is where I get a lot of inspiration for hair and fashion. — Tabatha Coffey

Next time
we will roll out the red carpet for you in the United States of Arabia, my brethren! — Leonard Leventon

If I have a blank piece of paper and I draw a red figure, immediately this brings sounds and shapes to my mind. I tried to make a film in which every component supports the others while giving each other space and stimulating the creation of what's yet to come. — Alex Abreu

It's pretty easy to make a film in China. A few years ago I just walked into the office and let them know I wanted to make a movie called 'Red Cliff' and they were so excited. They said, 'Let's do it!' It's that simple. — John Woo

Deeply moved, she poured the tea while they were finishing up. They came into the kitchen to replace the cleaning things, and she handed two cups to Om.
Noticing the red rose borders, he started to point out her error, "The pink one's for us," then stopped. Her face told him she was aware of it.
"What?" she asked, taking the pink cup for herself, "Is something wrong?"
"Nothing," his voice caught . He turned away, hoping she did not see the film of water glaze his eyes. — Rohinton Mistry

A film centered around the Second World War with a predominantly white cast would not have the pressure on it that 'Red Tails' has. — David Oyelowo

On set is where I feel comfortable. The red carpet stuff, talking about the film, explaining your own life, it doesn't come naturally. It's all necessary stuff I suppose but it's not my strength. — Naomi Watts

I remember in 1968 when we were in Cannes, in the festival, and we were supposed to be there 10 days, and the second day the festival collapsed because the French, you know, film-makers raised the red flag in the festival and ended the festival. — Milos Forman

Writing a film is like building a brick wall. You have a plan, and you have the blocks. Then, somebody says, 'I think we'll take this stone out of here and put it over there. And while we're at it, let's make this stone red and that stone green.' — Leigh Brackett

In The New Biographical Dictionary of Film, David Thomson argues that Brennan should have won awards for even better performances in To Have and Have Not (1944), My Darling Clementine (1946), Red River (1948), The Far Country (1955), and Rio Bravo (1959). Thomson counts no less than twenty-eight high caliber Brennan performances in still more films, including These Three (1936), Fury (1936), Meet John Doe (1941), and Bad Day At Black Rock (1955). Brennan worked with Hollywood's greatest directors - John Ford, Howard Hawks, William Wyler, King Vidor, and Fritz Lang - while also starring in Jean Renoir's Hollywood directorial debut, Swamp Water (1941). To discuss Brennan's greatest performances is also to comment on the work of Gary Cooper, Henry Fonda, Dana Andrews, Spencer Tracy, John Wayne, Humphrey Bogart, Lauren Bacall, Anne Baxter, Barbara Stanwyck, Lana Turner, Linda Darnell, Ginger Rogers, Loretta Young, and many other stars. — Carl Rollyson

I'm not comfortable with walking the red carpet in a tuxedo and seeing all the women with their boobs pushed up and all the men dressed as penguins - particularly when the subject of your film is the nature of violence and humanity. — William Hurt

The most frustrating things is when you read something that has so much potential, but there are other little red flags where you think, I don't know that I would see eye-to-eye with the people making this film. And that is the worst environment to enter, and absolutely not worth the risk. — Anna Kendrick

It is tricky because I do wear a lot of vintage on the red carpet, and usually when I'm getting ready, I'll say, 'We need to make sure that I don't look like I'm in a Scorsese film today.' Sometimes I do something a little bit more modern with my hair. You have to mix it up. — Christina Hendricks

Oftentimes she wondered what had happened to super 8. Sure, it made perfect sense that nobody wanted the hassle of spending money on a three-minute cartridge of film and threading it through a projector, but though digital cameras were convenient and cheap, Mandy didn't care. Super 8 had integrity, it wasn't just nostalgia, it was art, it was history, it was a little recording medium that somehow possessed the power to evoke lost memories, to turn back time, and there was something dazzling about waiting excitedly for a reel of film to come back in its yellow and red Kodak envelope, eating buttered popcorn while the projector paraded life's best moments, and capturing something beautiful in only three minutes. — Rebecca McNutt

'Red Knot' is a film that I shot in Antarctica almost three years ago on a boat. It was a film that was improvised and it had very interesting circumstances while making the film, obviously. We were on a small boat bobbing around in Antarctica. It was a really remarkable experience. — Olivia Thirlby

I'm American and I wanted my friend and people to see ' Red Army' . I didn't want it to be a film for Russia, although I did show it there and they absolutely loved it. — Gabe Polsky

Their task was to film the work of the Allied women. More than 20,000 American women served overseas during the war - 10,000 as nurses in the army and navy and a few thousand under the auspices of the Red Cross, the YMCA, and the Salvation Army. Several hundred women were telephone operators with the Army Signal Corps and still others served as doctors, entertainers, canteen workers, interpreters, dentists, therapists, decoders, and in a myriad of other roles. Most of the one thousand professional entertainers who joined the war effort were connected to either the Overseas Theater League or the YMCA and over half were women. — Cari Beauchamp

My father ran London Films. He made films like 'The Red Shoes,' 'The Third Man.' And he had had a long career in the film business, which was bifurcated with a career in intelligence. He had to deal with gangsters, and sometimes he would take me with him. Also, I went to school with their children. — Mark Helprin

With the RED, I didn't have this impression at all. I felt that it was as heavy as a film camera. Having this great crew, with the DP and his assistants, I found it making as much of an impression as a very big film camera. I didn't relate to it as much. I remember avoiding it during the shooting rather than paying attention to it. — Abbas Kiarostami

When I'm working with Red One, we all have to do everything, from making sets and costumes to tearing tickets. Forget about craft services! So when I get on a film set, it's a thrill to be just working as an actor. — Joe Dinicol

His heart slammed against his ribs, and joy flooded him, followed almost instantly by distress. Even from fifteen yards away he could see that she wore no makeup, and lines of fatigue were etched on her face. Her hair was restrained with a clip at the nape of her neck, and for the first time since he'd known her, she looked almost plain. Where was the Daisy who loved to primp and fuzz with her perfumes and powder? The Daisy who took such joy in dabbing herself with apricot scented lotion and raspberry red lipstick? Where was the daisy who used up all the hot water taking her showers and left a sticky film of hair spray on the bathroom door? Dry mouthed, he drank in the sight of her, and something broke apart inside him. This was Daisy as he'd made her. This was Daisy with her love light extinguished. — Susan Elizabeth Phillips

The plane touches down on very rough ground: its wheelbarrow wheels bounce and one set of wings rises alarmingly while the other dips. Now the Masai and the plane are converging. It's a magnificent shot: the Masai run, run, run, run; because of the optics it is dreamlike. The little plane bounces, shudders, slews and finally makes lasting contact with the ground. At exactly the right moment, as the plane comes to a halt, the Masai warriors, in a highly agitated state, reach the plane, and the camera closes on the pilot, whose face as he removes his leather flying helmet and goggles, appears just above the bobbing red ochre composition of plaited hair and fat-shone bodies. It is Mel Gibson, with a grave expression, which can't quite suppress his unruly Aussieness. — Justin Cartwright

Color tends to corrupt photography and absolute color corrupts it absolutely. Consider the way color film usually renders blue sky, green foliage, lipstick red, and the kiddies' playsuit. These are four simple words which must be whispered: color photography is vulgar. — Walker Evans

Gray mattresses with red and blue stripes in something that looks like a hallway or an overly long waiting room. In any case, his memory is frozen in immediate past like a faceless man in a dentist's chair. There are houses and streets that run down to the sea, dirty windows and shadows on staircase landings. We hear someone say "a long time ago it was noon," the light bounces off the center of immediate past, something that's neither a screen nor attempts to offer images. Memory slowly dictates soundless sentences. We imagine that all of this has been done to avoid confusion, a layer of white paint covers the film on the floor. Fleeing together long ago became living together and thus the integrity of the gesture was lost; the shine of immediate past. — Roberto Bolano

Evil Dead film sounds like the Red Hood, but this time the bad red hood. — Deyth Banger

Suppose every photo of me ever taken was an infinitesimal piece? Every magazine ad, every negative, every frame of motion picture film - another tiny molecule of me, stolen away to feed an audience that is *never* satiated. And when someone is fully consumed - vampirized - they move on, still hungry, to pick their next victim by making him or her a star. That's why they're called consumers. ("Red Light") — David J. Schow

I almost choke on my popcorn when I hear film stars, who walk on red carpets as much as the rest of us do on zebra crossings, criticising youngsters who crave fame. — Julie Burchill

Richard Grierson smiles, but it's an inward-pointing smile, a smile of someone folding himself back up for storage in the colorful corners of his own crayon fantasies. She looks at the books, their titles hazy with a thin film of sawdust, and she looks at the toy ships built for imaginary journeys along the red dotted lines of a child's map, and she looks at the exotic pictures in the books still open flat before her, and she understands that these places are just places of the mind, and she wants to be able to exalt his wild dreams and imaginings along with her own - but there's something about them that make them feel like the saddest thing she's ever seen. — Alden Bell