Top 80 Sequels Quotes

That’s always the trick with the sequels, is how much do you repeat from the first one. Because we all get bummed out when you go see a sequel and it’s beat for beat.

Like a lot of people, for a long time I thought that the road to hell is paved with bad sequels.

People make sequels a lot in Hollywood, and sometimes it feels like there’s never an original thought.

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.

There are so many sequels where everything between the special effects is just boring.

I’m not big on sequels; I’ve done them, but I like doing little things that have their own timelessness to them, classic type things, and then you go onto something new.

My gut feeling about sequels is that they should be premeditated: You should try to write a trilogy first or at least sketch out a trilogy if you have any faith in your film.

The thing I do miss about the way some sequels were in the past was that each film felt like its own unique, complete tone. Now, sequels are tonal facsimiles of the ones before them, like a television series, whereas back in the past sequels would often be radically different from the ones before.

Sequels are desperate.

As we all know, sequels can be tricky.

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While I always thought of making sequels to movies like ‘Ghayal,’ the filmmakers would almost always veto the idea.

I don’t know if I would do sequels. I almost feel like when I’m done with them, they’re going to have to find their own way.

The ‘Saw’ sequels went in a direction I wouldn’t have gone in. With ‘Insidious 2,’ I wanted to push a potential franchise in the direction I thought it should go in.

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.

Maybe Oliver Stone doesn’t lend himself well to remakes or sequels, because he does them so well the first time.

I don’t think I can make a film without Salman. He is in ‘Mr. India 2’ and also in the sequels to ‘No Entry‘ and ‘Wanted.’ I’m his new Sooraj Barjatya.

We are at a point in the video game industry that the industry is hollowed out. It is out of touch with the zeitgeist, creating sequels and formulaic games over and over again. The energy comes from the indies.

I take a firm stand against sequels. My industry brethren are a little shocked at how firmly I’m committed to not doing sequels.

The reason why Hollywood cranks out so many sequels and adaptations is because the audience is so overwhelmed with choices, the only way to get them in the theater is to give them something familiar.

Sequels are hard.

As long as we, again, kind of keep earning the sequels with material and I’m confident Mike can, I’m in. You know I always want to do those. But I also want to keep going in some of the direction as Meet the Parents has.

You sometimes get the sense that when people make sequels, they get conservative. If something worked, they do it over and over and over again.

I hate the idea of sequels. I think you should be able to do it in one book.

I hope there are 10 sequels to the ‘Guardians‘ movie!

Before sequels became the most reliable way to make a buck, Bond set the standard for lavish serial adventures. Before Hollywood found gold in multimillion-dollar adaptations of comic-book characters – in the Superman, Batman and Spider-Man blockbusters – Bond was the movies’ first big-budget franchise superhero.

You do sequels because they are tent poles. They open well, and they hold the tent up. But in between, you make a movie you respect.

There’s a lot of possibility in the ‘Pacific Rim‘ universe for additional stories to be told, whether that’s additional graphic novels or animated series or video games or movie sequels.

I never actually plan sequels. They demand to be done.

Most people know me at Pixar as the guy that doesn’t like to do sequels or very reluctant to do sequels.

I think repetition is the hardest thing to avoid with sequels, because you’ve told a story and now you’re adding more story to the story.

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.

I’ve just written a very gritty, non-magical take on the King Arthur legend, ‘Here Lies Arthur,’ and I’m currently toying with some other historical ideas, as well as working with the illustrator David Wyatt on some sequels to my Victorian space opera ‘Larklight.’

Believe me, sequels are just as hard to make as original films.

I pointedly avoid doing sequels, since for the most part I find that a sequel rarely stands up to the original.

I like to write about a lot of things, which is why my books are different. This is probably why I don’t like to write sequels, but chiefly I like to write about people.

But, George and Steven asked me to write the Indiana Jones sequels, and I didn’t want to.

Initially, when people asked us when ‘Toy Story 2’ was going to come out, we’d say, ‘We have no interest in sequels. We just want to do original stories.’

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.

When people write fan-fic sequels to one of your books, it gives you a very strange feeling. It is very flattering but strange, as if the characters have come to life again without you knowing.

I have an allergy to sequels and remakes in general.

I would happily have done any of the ‘Bourne Identity‘ sequels. There are good sequels, but I’m not good at making them.

For a genre that’s about looking to the future, science fiction has sure been looking backwards lately. Nostalgia is what sells best, with readers spending their money on movie tie-in novels and sequels to long-running series.

Sequels are not done for the audience or cinema or the filmmakers. It’s for the distributor. The film becomes a brand.

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.

We always looked at the movie sequels that we admired, and they always pivot and they always try new things. Even if you swing and miss, at least you’re trying something different.

After ‘Pitch Perfect,’ I only want to be in sequels. No. 2 of whatever.

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.

There’s a real danger in doing a sequel. There are some benefits, but that all hinges on how well you execute. Quite frankly, most sequels don’t execute well.

Once I had started film, I suddenly said, ‘Wow, I love it.’ I moved there from New York. But I’ve always gone back to the theater, and it is more satisfying, really, because you get to give a continuous performance – no sequels.

A lot of people ask for sequels, but what they really want is just to know the characters are happy and safe.

I think sequels should be earned and we won’t do it unless the script is better than the first one.

When I saw ‘Blade Runner,’ my understanding was that ‘Blade Runner’ and ‘Alien‘ were sequels to each other – or they were related. They were set in the same world.

We got offers to make sequels to both ‘Shaun of the Dead’ and ‘Hot Fuzz,’ and they never really interested us because we like having these endings where it seems very final but could hint at some kind of future adventure that you’ll never see.

At Pixar, we do sequels only when we come up with a great idea, and we always strive to be different than the original.

When you have films like ‘Bourne’ that succeed, not only does it beget sequels, but it begets people taking chances.

And one thing Hollywood does well is sequels.

My favorite sequels are basically all Mike Myers films – ‘Wayne‘s World 2,’ ‘Austin Powers: The Spy Who Shagged Me,’ ‘Shrek 2.’ Anything he does, it’s best the second time around. He needs to do ‘So I Married an Axe Murderer 2.’

I’d love to see a good script of one of my books, in these years of animations and comic book sequels, and had so many written over the years, but none quite clicked.

There’s nothing wrong with doing sequels, they’re just easier to sell.

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.

I’m not contractually obligated to sequels on anything.

Usually, people begin with very clear ideas of good movies, they begin with clear ideas about their characters, and then, as they do sequels, they seem to forget the characters more and more, and try to out-spectacle.

There are so few good comedy sequels. The only one in recent memory that’s good is ’22 Jump Street.’ It’s a hard genre.

They’re just not into doing sequels after Toy Story so I don’t think that’s a possibility. But if they did, well sure, you’d have to do it. And I’d want to do it.

There’s a certain exhaustion that sets in when screenwriters are approaching sequels, and they start to lean on crutches – those same old wacky characters!

I’m not a huge fan of prequels and sequels and the cynical rush to make money on the back of books by other writers who are now dead.

I think you kind of need to acknowledge that the reason why sequels do well is because people that loved the first one come back.

I feel the way I always do about sequels. If there’s an idea that excites me enough, and it feels like a way to do something new and fresh, then great. But I don’t ever want to do a sequel just for the sake of doing a sequel.

I hate sequels.

George Lazenby was ill-equipped. It’s not for nothing that they didn’t offer him any sequels.

I wouldn’t be creatively satisfied if all we did were sequels, but in the same breath, I’ll say that I wouldn’t be creatively satisfied if everything was an original. It’s good to use the different parts of my brain. Very different rules apply.

I’ve always made sequels, even when I was making Super 8 movies if the audience liked it.

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.

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.

I like to leave a film open-ended, with a lingering feeling. I’ll not do sequels of any of my films till I have subjects to explore.

People talk a lot about Pixar going off the rails. A lot of people are saying they aren’t happy that we are making sequels. But for every one of those people, there is one that is happy because they fell in love with the worlds we created. We hope we’ve proved that a sequel can be every bit as enjoyable as the original.

I read ‘Treasure Island‘ for the first time at university. And I started to notice then how unresolved some things were. Later, I realised that Stevenson was interested in sequels, and I wondered whether he would have gone back to it had he lived longer.

I don’t like sequels at all. If the movie’s good the first time, why bother?

You know for years before the notion of sequels, actors were the franchise. John Wayne would rarely do sequels, but he kind of played the same guy with a different name in every movie. I have no problem with using actors as franchises. And that’s what is fun to do.