Simon Pegg Quotes

I'm always the last person they go to with a sequel, because I'm the most skeptical. You know, I'm very proud of what we've done, and I don't want to screw up our series.

The production must be faithful to the line. If the production fails, my work fails.

I am wary of sequels. I understand them from the studio's point of view, but the audience doesn't want more, they want better, and I thought the second 'Ghostbusters' was not very effective, it did not really work, so there's no reason to believe a third would. I'm more interested in new things.

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

There are movies and TV shows I wish we didn't make, sure, but we're in the business of creating things that are not all going to work.

I was kind of burned out, a little jaded, and just sort of disillusioned by all the 'Mighty Duck' movies and everything just being about making money and not really caring about scripts anymore.

Sequels are generally done in a rush. They're done with a sense of urgency. The first time, you spend a long time developing to get it over the line. The second time, you don't. Your expectations are different, and your motivations are different.

Obviously, if people love a movie, and it has the possibility of continuation, then there is going to be a question of whether it's worth doing another one. There's also cynicism and skepticism about sequels.

I never wanted 'Toy Story 3' to feel like another sequel just grafted on. We all know that if you put 3 after your title, it typically means garbage, and we knew that going in.

Every time I make a new record, some of my existing fans are going to like it, and some are not. It's inevitable, and it's part of the deal. It's part of the job description.

Let's just cut a live record with three microphones in four days and talk about lizards and aliens. If I had taken that idea to even an independent label, I don't see a label out there that would've said, 'Oh yeah, that sounds great. We know how to market this.'

Cutting improvisation is really hard, because things don't match, and you end up with some bad cuts sometimes. But we'd rather have the bad cuts and the great improv.

I think true connectivity is something that is rare in sequels. I mean I love the first 'Die Hard' film; you won't find a bigger 'Die Hard' fan than me. But I feel like with the sequels, they're just taking that character and dropping him in different scenarios. There's no real connective tissue.

I think my intention was there, and my love for the music was apparent. And there are very few singers who get up and desire to take the kinds of risks that jazz musicians routinely need to be taking.

If you stick in the business of being creative, you get hurt. And creative disappointment seems so much harder to take than any other kind. But if you're not prepared to get hurt like that, life can be pretty boring. I think I'm going to keep on going.

The danger that keeps me just a little frightened with every book I write, however, is that I'll overreach myself once too often and try to write a story that I'm just plain not talented or skilful enough to write. That's the dilemma every storyteller faces. It is painful to fail. But it is far sadder when a storyteller stops wanting to try.

I don't want to put out something I'm not psyched on just because I finished it. That's the stupidest reason to do something, really. I want it to be up to my standards. I don't want to put out something I wouldn't listen to.

If we are not willing to fail we will never accomplish anything. All creative acts involve the risk of failure.

If you have the temerity to try to dramatize a theme that involves any particular social controversy currently extant. . . then you're in deep trouble.

The big challenge is finding something new without changing completely what you've already done - going deeper into what you've already done and discovering new things while carrying out the same intention.

But the truth is, at some point, our films - almost every single one of them - are really bad. And it's largely hats off to John Lasseter and Ed Catmull who have set up a system whereby they're expecting it.

I chose to tell a personal story. When you tell a movie like this that's as emotionally charged as this is, it's a risk. As one of my great cinematic heroes, Francis Coppola, would say, "If you aren't taking the highest, greatest risk, then why are you a filmmaker?"

The joy of art is particularly sweet, though, because it carries with it the threat of rejection, of failure, and of missed connections. It's precisely the high-wire act of "this might not work" that makes original art worth doing.

Today we haven't the heart to expel the painters and poets from society because we refuse to admit to ourselves that there is any danger in keeping them in our midst.

Creation is not a light-hearted game. The creator commits to a terrible adventure, which is to take up-on himself all of the dangers that his creatures run.