Words matter. These are the best Ol Parker Quotes, and they’re great for sharing with your friends.
And Cher, obviously, can never do anything other than go for it. She’s all in.
Being a teenager anyway is incredibly intense and every moment is invested with ferocious importance.
There’s a sports saying, if you aren’t playing offense, you’re playing defense, so if you are coming back for a sequel not be better but you have to aim higher and bring something else back in to the mix.
I think films are a really small target. They’re really hard to make, and they’re a really tiny target.
‘Waterloo’ was probably my favorite. That was enormous fun and we laughed a lot.
It’s the easiest thing in the world, when you’re 80, to not go to India to make a movie.
Bill Nighy has an idiosyncratic delivery.
It’s always tricky when someone who’s not used to it volunteers to be an extra and you want to go, ‘Listen, you’re going to be sitting there for a long time.’
Meryl’s Donna embodied the spirit of ABBA and ‘Mamma Mia!’ in the first film.
The trajectory of most movies is that you start off writing a sensitive movie about a couple in their 40’s getting divorced, and then, three years later, you look at each other on set while you’re making a film about lesbian cheerleaders. You’re like, ‘How did that happen?!’
I wanted to write about love at first sight because I fell in love at first sight.
You can only shoot in India for three months a year, otherwise it’s very inhospitable.
I mean, movies need distraction.
I have no goals or ambitions whatsoever.
I just did what any writer does, tried to listen to the characters, whether they’re 18 or 80.
It’s the nicest thing when you’re constantly surprised by your partner.
Before you turn 40 you think, ‘everyone else is going to die, but not me,’ then you realize death is certain for everyone.
Look, I’d take a suggestion from my grandmother if I thought it would improve a film I was writing.
I wrote a film for Tom Hanks and I wrote two films for Paul Greengrass that didn’t actually happen. The paradox is that the bigger the film you write, the less likely it is to happen.
These are cynical times. Some of the romcoms I thought worked best in recent years were ‘500 Days of Summer,’ ‘Celeste and Jesse Forever’ and ‘Like Crazy,’ all of which reject the standard happy-ever-after formula.
