"We all had our reservations about possibly overdoing it but, you know, the script was great. Basically it stuck to the formula that worked for the first two movies, and for that reason I think this works as well"
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There is a particular kind of modesty actors deploy when they sense the cultural eye-roll forming, and Jason Biggs nails it here. “We all had our reservations” signals awareness of the sequel problem: audiences don’t just fear repetition, they resent being treated like easy marks. By naming the doubt up front, he pre-empts the accusation that everyone involved was simply cashing a check.
Then comes the pivot: “the script was great.” It’s less an aesthetic claim than a moral defense. In franchise culture, the script becomes a stand-in for legitimacy, the proof that the project has a reason to exist beyond the marketplace. Biggs isn’t selling artistry so much as due diligence.
The most revealing phrase is “stuck to the formula.” In another era, admitting that would be an own goal. Here it’s repositioned as strategy, even care: the formula is what the audience is paying to revisit, especially in a comedy tied to a specific late-90s/early-2000s coming-of-age sensibility. Nostalgia isn’t just memory; it’s consumer expectation.
“Worked for the first two movies” is the quiet acknowledgment that originality is no longer the primary metric. The subtext is pragmatic: don’t reinvent; restore. Biggs frames success as continuity, implying that “overdoing it” isn’t making more, it’s changing too much. In the sequel economy, restraint means repetition with confidence.
Then comes the pivot: “the script was great.” It’s less an aesthetic claim than a moral defense. In franchise culture, the script becomes a stand-in for legitimacy, the proof that the project has a reason to exist beyond the marketplace. Biggs isn’t selling artistry so much as due diligence.
The most revealing phrase is “stuck to the formula.” In another era, admitting that would be an own goal. Here it’s repositioned as strategy, even care: the formula is what the audience is paying to revisit, especially in a comedy tied to a specific late-90s/early-2000s coming-of-age sensibility. Nostalgia isn’t just memory; it’s consumer expectation.
“Worked for the first two movies” is the quiet acknowledgment that originality is no longer the primary metric. The subtext is pragmatic: don’t reinvent; restore. Biggs frames success as continuity, implying that “overdoing it” isn’t making more, it’s changing too much. In the sequel economy, restraint means repetition with confidence.
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