Explore Quotes by Rob Reiner

The first time I ever met Stephen King, he came up to me, and we went to shake hands, and he had, like, this fake rubber rat that he kind of, you know, shook at me. You know, and I said, 'No, this is a cliche - this can't be. Stephen King is trying to scare me with a fake rat?' It was just really weird.

It's the only way I really know how to tell the story is to be able to kind of live through the characters. So when I find something that resonates with me, it's usually because it cuts to something very real inside of me; something that I've gone through or experienced.

You work with every actor differently. It's like if you're a mother, if you have children, some children need more discipline. Other children, you back off of a little bit and let them be. It's the same way with actors. Some actors need a lot of hand holding. Other actors like to be let be, and you let them go.

They make three types of movies, and if you don't make one of those three, you have to find independent financing: It's either big-action superhero tent-pole thing, or it's an animated film, or it's an R-rated, raunchy sex comedy. They don't make movies about real people.

Women, the way I see it, are very evolved people. They're more mature, they're more aware of their feelings, in touch with their feelings. They're connected to things that matter more in life. They know what's important. Men basically run around like idiots until we meet somebody who can show us that those things are important.

I don't think anybody's all good or all bad.

I don't think you should necessarily listen to a celebrity just because he is one. But if you can marshal your celebrity and really steep yourself in whatever issue you're trying to promote, it can actually move the ball forward, and we've done that.

When I read 'Stand By Me,' it was like, 'This is a look back at the same time period when I was growing up, and it was about kids, but it really felt like what it was like to have those powerful feelings of friendship at age 12.' That's what got to me.

I'd never ask an actor to do something I couldn't do - not that I'm the best actor in the world - but if I can do it, then I know that anyone I hire can do these things.

I remember once, years ago, I met Sting, and he told me that he had seen 'Spinal Tap' 50 times. He said: 'Every time I watch it, I don't know whether to laugh or cry.'

It's a very slow process - two steps forward, one step back - but I'm inching in the right direction.

I've made movies that nobody saw initially, and then, all the sudden, people over the years pick up on it. Like 'Spinal Tap' and 'Princess Bride.'

I saw 'The Grand Budapest Hotel.' I liked it. I saw 'The Fault in Our Stars,' and I could see why young girls like it. But it dropped off like crazy in the second weekend. I liked 'Fed Up' - I love documentaries. I go to a lot of documentaries.

When I was doing 'All in the Family,' half the time, I was looking at where the cameras were, where were the other actors in the scene, what the audience was doing.

You have to give people the pleasure of giving you.

If you are a creative person, you try to create things that are an extension of yourself.

The reason they don't make movies for adults and for people which are the largest bulge of the population is because they are not usually going to the movie the first weekend. They take a while to learn about it, probably word of mouth. It takes a lot of money to release a picture.

We made the joke when we screened 'Bucket List' that there was 100% desire to see amongst our demographic with a 40% ability to get them to see it.

I love it when people come up to me and they say a line. Like, you know, 'My name is Indigo Montoya. You killed my father. Prepare to die.'

The marketing costs are insane now. So even if you've got a picture like 'Flipped' which cost under $14 million, or $13.5 million, you're still going to spend on an national basis, if you release with a good national release, you're still going to spend, you know, $30-$40 million.

I acted when I was young, but at 19, I had my own theater company where I acted but also directed. I also did some theater in Los Angeles. So I was always wanting to direct, even before I became an established actor.