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Sure, I came up under Mike White, and Miguel Arteta; I was Mike White's assistant on 'Dawson's Creek.'

I feel like a zombie movie is kind of like the gold to hear movie.

I've definitely pitched some viral ideas and do have a pretty good understanding of the Web.

I have this horrible habit of just pressing online bookmarks that are at the top of my browser like ad infinitum.

If you have somebody who can just do everything easily, then it's kind of boring. If you're handcuffed to a chair and you've got to fight while your handcuffed, or something like that, it just adds a cool element.

I think the filmmakers that I love are ones that cross genres and do different thinks, the way that David O. Russell can do something like 'Flirting With Disaster' but then go do 'Three Kings' which is like an incredibly visual film - that's a huge reference point.

Like, I've worked on movies where you go in every day and you know that what you're shooting isn't very good to start with and then you have to figure it out, and that's way harder.

I thought 'I Am Legend' did a really great job of it, and 'Omega Man,' that concept of an empty world.

That 'Zombieland' thing was pretty great. I think I didn't realize just how lucky I was after that first movie, to have something so special and to have a cast that's so special.

I haven't done a movie without a member of the original cast of 'Zombieland' - they've all been in every movie I've done.

I just want to make sure whatever I take on, I can deliver.

It was fun playing with those jumps and the flashbacks in 'Zombieland,' but I don't think you need it to make a good movie. It's fun to just do a more straightforward one.

I'm not as clever as J.J. Abrams and those guys who fill it with all of these things for people to find.

I've had a really hard time dealing with 35mm. I greatly prefer HD.

I love music videos, and I think maybe it's my favorite format.

I started with digital filmmaking. I've pretty much only done digital filmmaking.

I come from music videos and commercials, where style is a big part of the whole world. I've always tried to add that to whatever I'm doing.

With '30 Minutes or Less,' there was a conscious decision on my part to make it a little less stylized. I wanted it to feel like an '80s action movie.

I've got to give a lot of credit to my cinematographer, Chung-hoon Chung, who is a master and among other things shot 'Old Boy,' which is a very famous single-take fight scene. He's really a true master.

Bill Murray, we've got to get people worthy to be on the screen with him, as opposed to just a bunch of random… with no disrespect… but a bunch of random local actors.

I think any opportunity you can to employ some visual technique, go for it.

Zombie purists don't even call our zombies zombies, because to be a zombie you have to be undead. That's something zombie purists can fight about for years and years to come.

I love TV.

Traditionally in zombie movies, one of the main characters dies.

And my idols in music videos are people like Michel Gondry and Spike Jonze and Johnathan Glazer and David Fincher and that's always kind of been my reference point in music video and commercial directors.

If you've loved a girl your entire life and you've been afraid to tell her, don't wait because you never know what might happen.

I was working in commercials and music videos, always with the goal of working in feature films.

I think Jack Nicholson in 'Chinatown' is a very funny character, but I would never call that a comedy.

I basically went from finishing 'Venom.' I had a week off with my family. And then went straight into prep on 'Zombieland 2.'

Some of the greatest movies of all time are within this genre, 'The Godfather,' and 'Goodfellas,' and 'Untouchables' and there's just so many classic gangster movies that I was always such a fan of.

It's like somehow my favorite filmmakers, you know, bounce between genres. Like if you look at a career of somebody like Soderbergh or Danny Boyle or the Coen's. I mean, it goes - there's no real through line other than just their style, but the type of genre or the type of subject matter seems to go all over.

Venom' is a standalone character who has so much attitude, menace and ferocity. He's also really funny in the comics and in our movie. He's a really compelling guy that can completely stand on his own. When he's played by Tom Hardy, and Eddie Brock is his partner, that relationship is enough for one movie.

As a comic book fan, I've seen all the comic book movies.

The mass of Venom. I mean, he's like a big, foreboding, physical presence. Actually, let me correct myself - the eyes, the tongue, the mouth, those are his most distinguishing traits, and so making those look as photoreal and true to the comics as we possibly could was super important to me.

I guess as a long time fan of 'Venom,' as soon as I heard they were making a standalone movie I got really excited at the prospect of being involved.

You know, duality has always been a strong theme throughout 'Venom'-focused stories, whether it's in the comics or in movies, and that's something I think that Tom Hardy's played with in a lot of his work.

As far as 'Venom,' we took some license with this because I don't think we know a lot about him from his days on planet Klyntar in the comic. But in our movie we thought maybe he could also be somebody who's a little bit of a loser, a loner, and doesn't love being subordinate.

Venom,' we worked all the way up until the release. It was one of the latest things you could possibly push the schedule to. We actually finished it two weeks before it had to go everywhere throughout the world.

My first time out of the gate, I made three movies in four years, and they were all very back to back to back.

Yeah, I feel lucky to have the opportunity to try different things.

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