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Quotes: They Just Didn't Care

Fiction

TV's Frank: Yeah, Larry, come here. Larry, tell them. Tell these people. Tell them how you took your dream — your vision! — and through blood, sweat, and effort, you owned that dream and turned it into a reality through years — well, days — of hard work, determination, and struggle! You took that cherished dream that you had, and you... (trails off looking at Larrys dull, lifeless expression.) You don't really care, do you?
— The official Deep 13 rebuttal to the They Just Didnt Care sketch, Mystery Science Theater 3000, Attack of the Eye Creatures

Reviews

Stuart's a nice bloke, but when someone comes in who's never seen Star Trek before, and I say, Well, my character wouldn't do that, and he says, I don't care, just do it anyway— first of all, you wanna punch his lights out. And second of all, hes the director, and you kinda have to do what he says, cuz he just keeps making you do it over and over again.
Marina Sirtis on director Stuart Baird, Star Trek: Nemesis

...the people who were responsible for making the aliens look alien, what they'd done was stuck some cotton wool on their faces and dyed it green. ...I remember when we were doing the press screening at BAFTA and I was sitting next to this woman journalist and she saw this guys face and she snorted with derisive laughter. When we turned up for that day on location and saw those aliens, we were so enraged. Everyone had tried so hard, to the best of their abilities but somebody else had thought well, we can just get away with something. And then that journalists response, people just cant take it seriously after seeing that. Someone just didn't try.

Perhaps the most telling moment is when K-9 is hooked into the Minyan computer via what is very obviously a pair of binder clips at the end of telephone wires. Whats striking about this isn't the use of cheap and everyday materials in Doctor Who - that's been going on for ages, with condom maggots and bubble wrap alien arms appearing in highly acclaimed stories. Its the fact that no effort whatsoever is made to disguise the fact that its phone wire and binder clips. They're not spray-painted gold or anything. They're using phone wire and binder clips that are obviously being phone wire and binder clips. Its a stunning moment in which its clear that the production department has simply given up all hope that this will ever look good.
TARDIS Eruditorum on Doctor Who, Underworld

In Tragedy Plus Comedy Equals Time, Patton Oswalt has a bit where he talks about what it really means to be successful as a comedian. He tells a story about being paid to do his act in front of a crowd so drunk that his mere presence is enough to earn a standing ovation, and how he received the offer to do that set (no new jokes, no material at all — just free money) forever, and how now he has to live with the pulsing door of compromise and success, because at any point he can stop writing jokes and just make money. I bring this up because, in an interview with Jimmy Kimmel, Adam Sandler described a similar moment where he made the exact opposite decision...His movies are just the easiest excuses for him to take vacations: 50 First Dates, he explains, was originally set somewhere else, and when he suggested shooting it in Hawaii everyone thought that was a very artistic decision. From then on, hes just used his fame as a way to hang out with his buddies or entertain his predilection for cross-dressing.

Lansing and another girl are tied to trees (saplings would be a better word) by the creatures, and then Lansing is carried off and given to Bigfoot. Bigfoot is usually shot from a camera angle between his toes, making him loom over the camera like King Kong, but when we see him straight-on he looks about five feet ten inches or eleven inches tall. He wears a shaggy costume stitched together out of old, dirty brown shag rugs.
Roger Ebert on Bigfoot (1971)

Chris: Lex and Lenny stroll up to an exhibit about Superman, where a single strand of his Super-Hair is holding up a 1,000-pound weight. Luthor and Lenny smash the glass case holding the super-hair before cutting it, because apparently those damn bolt-cutters were forged of Uru by the dwarves of Skartalfheim.
David: They don’t even have some sort of offhand line about how they’re kryptonite bolt cutters or something, which would even be believable for Luthor. They just use regular ol’ bolt cutters to cut this strand of hair holding a thousand pounds.
Chris: Superman IV: The Quest For A F*** To Give.
—Chris Sims and David Uzumeri on Superman IV: The Quest for Peace

Seagal clearly doesnt give a shit, which, let me tell you, really enhances the viewing experience. In fact, Seagal's fight scenes make me yearn for the almost swan-like athleticism of actions stars like Pamela Anderson...We get virtually none of the things we expect, even from a bad Seagal flick. No martial arts mayhem, no obligatory speeches about how great Seagal's character is, no hysterically funny shots of Seagal running and holding his gun like a girl, and no snapped limbs at all. This film seems to have been made on autopilot at virtually every level.
The Agony Booth on Submerged (2005)

What I really think happened to this movie is that everything went wrong. The script was in a shambles, the animation shots weren't working out, the deadline was coming up, and finally everyone threw their hands up and said To hell with it, and decided to put the movie in the can real quick and try to have a good time so they can go home early. The director just let the actors take the brakes off and do whatever they want. Jeremy Irons just read his crap dialogue and went for the most overdramatic Snidley Whiplash villain possible.

I can realize that the first movie had its own problems. After all, the producer was up against the wall with losing the rights to Atlas and had to make a movie quickly. A script and a director had to be rushed and the relatively small budget had to limit the kind of actors they had... But really this is a symptom of a larger problem which is incompetence. Take for example another scene where we establish Dagny’s smarmy jerkface brother who has no talent but hogs all the credit. He is a supposed multi-millionare but he goes into what appears to be a Circle K and is buying a tie for a piano concert next to the fucking Slim Jims and anti freeze. And you are just sitting there with this WTF look on your face thinking way too hard about things you shouldn’t be in the middle of this movie. Did they have really no more money left at that point and threw a tie rack in the middle of a QT? Is this some future thing that wasn’t established well? Kind of like how Taco Bell became fine dining in Demolition Man, fucking Exxons have now become superstores where you get everything from Armani to Hostess Snoballs?
Miles Antwiler on Atlas Shrugged Part II: The Strike

One's heart sinks the moment Bandai appears on the screen, given that Bandais video game division basically spent the NES years releasing an unrelenting torrent of shit upon the world. Their games list is a fucking whos who of games Ive previously complained about — Frankenstein: The Monster Returns, Chubby Cherub, Dick Tracy, Dr. Jekyll and Mr. Hyde... the list does not just go on, it goes on while actively torturing dark recesses of my brain with searing memories of playing this shit for half an hour at a stretch. Bandai is, lets face it, a company that exists, at least in NES terms, for the sole and express purpose of releasing crappy games. Actively. As a matter of policy, they clearly prefer to cheaply release shit than work to give the player a remotely entertaining experience.

As the game begins with the usual slew of idents playing, the CryEngine™ logo is accompanied by the words Achieved with 'CryEngine™'! And you know, I dont think achieved is the word Id use. 'Shat out with CryEngine™', maybe. 'Tortuously prolonged with CryEngine™'. Or perhaps 'enabled with CryEngine™, in the same way one enables a crippling drug habit. Fuck yes, I'm reaching for the low-hanging fruit. Its been a long year, and taking it out on something no one with even a passing interest in reality will defend is my equivalent of a day at the spa.

This has nothing to do with TECHNICAL LIMITATIONS and everything to do with the design team JUST NOT GIVING A FUCK.

Theres also another predecessor called Castlemania 3: Draculas Curse. All Im going to do is barely mention it here, so that I can say I reviewed it.
— The Third Rate Gamer reviewing the first two Castlevania games

Deep Serpent Assignments are not Team Service Announcements. They are what happens when someone suggests an idea for a Team Service Announcement, but says it in a way that makes me want to do it, but not put any effort into it. So I spend an hour barely animating and mixing together six songs and then slap it on YouTube with a name that voices one of my grievances.

Okay... guys... By this point, I knew... The film just gave up. They clearly had no idea what to do, so they just threw in some stupid ideas into the third act, hoping that it would entertain the younger children in the audience... I mean, the rest is just as horrible, but it had SOME idea of pacing... The whole third act seems rubbish, pointless, rushed and uninspired...
Duckyworths reaction to the climax of The Wild.

“No, no, don’t leave it at that. I want people to KNOW what that really means.” Steel said, “Young Justice was a show with an intriguing and well-written plot with good characters and...well, amazing character designs. Green Lanturn was a very unique show that showed how much the mythology of the character had to offer the DC Universe outside of that awful movie. But Cartoon Network, in their infinite wisdom, DUMPED both shows after its second and first season respectfully and just gave us THIS. A show where one episode consists of two characters saying ‘waffles’ over and over again! THERE IS NO HOPE LEFT IN THE WEST, PEOPLE. If Cartoon Network is boneheaded enough to dump two great shows for this shallow crap, it shows how little they care about quality! Migrate to anime, folks! I hear Kill la Kill’s getting more episodes. At least THAT show’s actually entertaining!”

...with tongue firmly in cheek, [Stephanie Beacham] would often wind me up by asking what her motivation was for a particular action, just as I about to call Action!, knowing full well that my answer would be, Because its in the script.
— Norman J. Warren, director of Inseminoid