Adam Sandler Movie Quotes

...I stopped trying to figure out American juries around the same time Adam Sandler movies started raking in millions at the box office--people just don't act predictably.

If we fast forward through the journey, like Adam Sandler in the movie, Click, we’ll look up one day and see that we missed our lives.

America’s primary institution of learning—the movies—has taught us that when we find ourselves in a strange and eerily quiet place with lots of doors, waiting behind one of them will be either a psychopathic killer or a monster of supernatural or extraterrestrial origin. Of course, if it’s an Adam Sandler comedy, behind the door will lurk a goofy dude waiting to deliver a joke involving poop, pee, or genitals. I wasn’t in such a comedy, but that was all right, because I preferred a psychopath or a monster.

They abuse that ‘breaking.’ Breaking, polls show the Liberal Democrats take the lead in the Austrian congressional races. Breaking, Adam Sandler says his new movie is his best work yet. Breaking, Doris Who Gives a Fuck, inventor of the automatic ice cream maker, dead at age ninety-nine.

Instead of killing myself, I watched the Adam Sandler movie Funny People. I was unaware of the fact that singer-songwriter James Taylor has a cameo in the film. When he came on-screen, I thought, without self-consciousness: Oh God. I can’t believe that James Taylor is still alive, and I’m dead.

Sony paid both stars handsomely for their consistent success: $20 million against 20 percent of the gross receipts, whichever was higher, was their standard compensation. They also received as much as $5 million against 5 percent for their production companies, where they employed family and friends. Sony also provided Happy Madison and Overbrook with a generous overhead to cover expenses—worth about $4 million per year. To top it off, Sandler and Smith enjoyed the perks of the luxe studio life. Flights on a corporate jet were common, with family members and friends often invited along. On occasion, Smith’s entourage and its belongings necessitated the use of two jets for travel to premieres. Knowing that Sandler was a huge sports fan, Sony regularly sent him and his pals to the Super Bowl to do publicity. In addition to enjoying the best tickets and accommodations, they had a private basketball court to play on, which the studio rented for them. Back at the Sony lot, the basketball court was renamed Happy Madison Square Garden in the star’s honor. When anybody questioned the wide latitude and endless indulgence given to Sandler and Smith, Sony executives had a standard answer: “Will and Adam bought our houses.

A few months later, Sandler got word that Netflix, newly interested in movies, had set its sights squarely on him. Using data gathered from Sony movies that Netflix had played through its Starz deal, Sarandos’s team knew that even as his box-office power waned, Sandler remained one of the most popular stars on the streaming service. His aging audience might be less likely to pay to see him in a theater, but they still loved laughing at his antics at home. “We knew he was popular in markets where his movies had never even opened,” Sarandos said. The mid-budget star vehicle, in other words, still worked great for Netflix. When people went to theaters, they preferred brand-name franchises. But when they were browsing for something to stream rather than pay fifty dollars for a night out, a familiar face doing the familiar shtick was perfect. Movies without massive visual effects were just as enjoyable at home, after all, if not more so. And if the stars had chosen to stretch their wings and you didn’t like the movie you clicked on, you could turn it off immediately. You lost a little bit of time, but not any money. And though there may not be as many fans of Adam Sandler, or any movie star, as there used to be, that didn’t necessarily matter to Netflix. All studios care about is how many people buy tickets or DVDs. They get their money whether you loved the movie or hated it. But Netflix measures success by how many people finish a movie and are satisfied enough to keep subscribing as a result, or who sign up just in order to watch it. Adam Sandler’s fan base may have shrunk, but those who remained were loyal and they were global—just what Netflix wanted. Additionally, Netflix wouldn’t have to spend millions of dollars on billboards and TV ads to market each film. Its algorithm would prominently suggest each Sandler movie to his fans on their home screen the moment it was available.

That everyone in the corporate food chain, up to Price and even Bezos, was convinced of the need to work with theaters on their terms and not put their movies on Amazon Prime until five months after they debuted on the big screen proved the company was all-in on art-house movies. It was, in fact, the core of Amazon’s strategy. Rather than serve everyone everything they might want, as Netflix was doing with its mix of Adam Sandler comedies, Will Smith action flicks, and some indies, Amazon wanted to build a distinct identity for its Prime Video service. By making a particular kind of movie, everyone at Amazon figured, they would build an identity for their service, one that made it noticeably different from what almost everyone else in Hollywood was doing. Sure, many people wouldn’t be interested in the weird, depressing, or simply outré works that it was releasing, but at least those who were into it would love it. Amazon executives distinctly didn’t want a studio that was as bland as the company’s selection of USB cables. “We don’t want something that 80 percent of the audiences eventually gets around to watching,” said Hope. “We want the thing that 20 percent of the audience is so passionate about, they’ll break up with you if you don’t feel the same way. We want to inspire an urgent need to see.” In addition, the people who go to art-house movies tend to be upscale, well-educated people who live in cities and who like to shop online. If the ultimate goal of Amazon’s movie business was to attract, retain, and engage Prime subscribers, it only made sense to draw people who would buy the most computers, books, and Kindles online. “They are often very good retail customers,” Price said sheepishly. “So that’s not a bad thing.