"Long Kiss Goodnight has a huge cult following. They could make another version of that movie right now and make a lot of money"
About this Quote
Samuel L. Jackson isn’t just praising a mid-’90s action thriller; he’s diagnosing the entertainment economy with the casual bluntness of someone who’s watched Hollywood run on fumes and nostalgia for decades. “Huge cult following” does two things at once: it flatters the fans who kept The Long Kiss Goodnight alive past its box-office life, and it turns that devotion into a market signal. Cult isn’t just a vibe here, it’s proof of concept.
The second sentence is the tell. “They could make another version...right now” lands like a shrug at an industry that treats time as irrelevant and originality as optional. Jackson’s phrasing suggests inevitability: the IP is sitting there, pre-sold, waiting for the machine. “Make a lot of money” strips away the prestige talk and points at the real north star. It’s not “a better story” or “a new take.” It’s revenue.
The subtext is a quiet indictment and a practical pitch. Jackson, who’s been both a prestige presence and a franchise linchpin, speaks from the vantage of someone who knows which movies become “content” and which become memory. The Long Kiss Goodnight is remembered not because it was rewarded, but because it delivered: Geena Davis as a lethal, self-authored action lead; a sharp Shane Black script; a tone that mixed menace with banter. Jackson’s remark implies the irony: Hollywood missed the chance to build on that kind of star-driven, character-forward action then, but it would happily repackage it now, once fandom has done the marketing for free.
The second sentence is the tell. “They could make another version...right now” lands like a shrug at an industry that treats time as irrelevant and originality as optional. Jackson’s phrasing suggests inevitability: the IP is sitting there, pre-sold, waiting for the machine. “Make a lot of money” strips away the prestige talk and points at the real north star. It’s not “a better story” or “a new take.” It’s revenue.
The subtext is a quiet indictment and a practical pitch. Jackson, who’s been both a prestige presence and a franchise linchpin, speaks from the vantage of someone who knows which movies become “content” and which become memory. The Long Kiss Goodnight is remembered not because it was rewarded, but because it delivered: Geena Davis as a lethal, self-authored action lead; a sharp Shane Black script; a tone that mixed menace with banter. Jackson’s remark implies the irony: Hollywood missed the chance to build on that kind of star-driven, character-forward action then, but it would happily repackage it now, once fandom has done the marketing for free.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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