Top 1200 Film Students Quotes & Sayings

We do students a great disservice by implying that one set of students is more important than another.

During its first year of operation, Florida Virtual School had 77 students. The next year, it had 476 students; then 2,489 students the year after that.

I almost stopped teaching entirely. The worst thing for me is contact with students. I like universities without students. And I especially hate American students. They think you owe them something. They come to you ... Office hours!

Unlike many graduate fellowships, the Rhodes seeks leaders who will 'fight the world's fight.' They must be more than mere bookworms. We are looking for students who wonder, students who are reading widely, students of passion who are driven to make a difference in the lives of those around them and in the broader world.

Upon its debut, The Room was a spectacular bomb, pulling in all of $1,800 during its initial two-week Los Angeles run. It wasn't until the last weekend of the film's short release that the seeds of its eventual cultural salvation were planted. While passing a movie theater, two young film students named Michael Rousselet and Scott Gairdner noticed a sign on the ticket booth that read: NO REFUNDS. Below the sign was this blurb from a review: “Watching this film is like getting stabbed in the head.” They were sold.

As I talk to film students now especially, I say, "The easiest job you'll ever get is to try to make your first film." That's the easy one to get, is the first film because nobody knows whether you can make a film or not.

You can't be a passive recipient of images, you have to engage with images and read their subtexts. These are critical things that will be taught to the students by a film club.

Whenever I felt down, whenever I started wondering what homeless shelter I would die in, [my mother] would buck me up by telling me: you know, Paul, the A students work for the B students, the C students run the companies, and the D students dedicate the buildings.

Nontraditional students often have the misconception that aid is intended only for high school students entering college. Luckily, that's not the case.

Running a school where the students all succeed, even if some students have to help others to make the grade, is good preparation for democracy.

Arriving to class late is disruptive of the learning process. I think that it is disrespectful to both the instructor and the students. I generally find a problem with students being tardy to my 9:10 a.m. class, in which students would come in thirty minutes late to this fifty minute class. I started locking my door at 9:15 second semester.

When '36 Chowringhee Lane' was released in 1981, I was a student of the Film and Television Institute of Tamil Nadu. Everyone who had seen the film was very impressed with its flawless direction and acting. But we, cinematography students, were stunned by the visual style, which was truly international.

I consider protecting all students, including LGBTQ students, not only a key priority for the Department, but for every school in America.

The loan crisis and the increasing slashing of funds for students, coupled with the astronomical rise in tuition, represent an unparalleled attack on the social state. The hidden agenda here is that when students graduate with such high debts, they rarely choose a career in public service; instead, they are forced to go into the corporate sector, and I see these conditions, in some ways, as being very calculated and as part of a larger political strategy to disempower students.

When I talk to film students, I always say, "Buy the DVDs and listen to the commentaries, look at the making of, look at the behind-the-scenes," because that's such a great learning tool.

What is wrong with encouraging students to put "how well they're doing" ahead of "what they're doing." An impressive and growing body of research suggests that this emphasis (1) undermines students' interest in learning, (2) makes failure seem overwhelming, (3) leads students to avoid challenging themselves, (4) reduces the quality of learning, and (5) invites students to think about how smart they are instead of how hard they tried.

When the students in the South, the blacks, started demonstrating, that was the beginning of the time of students becoming a social force around the world.

When students cheat on exams, it's because our school system values grades more than students value learning.

Colored students at the University of Minnesota partying with (white) female students, smoking [marijuana] and getting their sympathy with stories of racial persecution. Result: pregnancy.

The teachers were focused on helping these students. The students benefited from hands-on teaching and a faculty who cared about them and their success in life and soon the students began to believe in themselves and the reality that they could make something of their lives.

After working with so many great actors and acting students in film school, it was a whole other thing working with Luke [Kirby].

When we worked with the organization that represents students, they were unequivocal: They want debt-free college. And for many of those students, that has to include the total cost of attendance.

Teachers teach and students educate. Students are the only true educators. Historically, every other method of education has failed. Education occurs when students get excited about learning and apply themselves; students do this when they experience great teachers.

I get to work with incredibly talented young filmmakers and students, and their attitudes and relationship with film is still so pure. That re-inspires me and reminds me why I got into it and what I love about film, and allows me a little reprieve from the business side of it. And it rekindles my love of film.

That movie [Jawbreaker] was so much fun to shoot. We were all in our mid-20s at the time, playing high school students. Which was the point. It was the point of the film to hire older actors to play high school students. But we had a blast.

Film students should stay as far away from film schools and film teachers as possible. The only school for the cinema is the cinema.

One of the things that make community colleges so special is they do not pick and choose their students - they work with all students.

Through dialogue, the teacher-of-the-students and the students-of-the-teacher cease to exist and a new term emerges: teacher-student with students-teachers.

Line up a group of Horace Mann students, interview them, and take a look at their resumes, and you'll be hard pressed to pick out the students who require extra time. So then, what qualifies these students to receive special accommodations on the SAT?

The content of the curriculum should never exclude the realities of the very students who must intellectually wrestle with it. When students study all worlds except their own, they are miseducated.

I think too many film students in America are losing the artistry and not learning lighting the right way.

All students of disaster movies know that nothing survives these natural onslaughts except cats and the highest paid film stars.

Students and invited speakers do not shed their constitutional rights when they step up to the graduation podium. Expressing faith in God does not disqualify a student from delivering a graduation message. Being designated as valedictorian or salutatorian is an honor, and students chosen for that honor should be free to share their gratitude to God with their fellow students and family members.

B students work for C students - A students teach.

The first film set I was on was Karan Johar's 'Student of the Year.' I was somewhere behind in the crowd with many people as college students.

I have taught students from the New York City area so long I have a special affinity and rapport with them. It surprises me sometimes that there are students from anywhere else.

Film festivals are a great vehicle for gaining an audience for your film, for exposure for the talent in the film and for the film makers to leverage opportunities for their films. I love the energy that film festivals bring.

If the students don't want to learn about evolution, they shouldn't be in the course. A biology course that teaches creationism is not a science course, it's a religion course. So the students demanding that creationism be given credence in that course are out of line and are denying the academic freedom of the professor. They are calling into question the scientific basis of the material that's being presented. And students are not in a position to do that.

Lower standards tell students that they don't need to work hard and leave more high school students unprepared for college and the workplace.

You can be a lender who wants to compete and have a better product, but you just can't get to the students. The schools are controlling the access to the students.

I was among the first batch of the students to graduate from the Film and Television Institute of India (FTII) in Pune in 1966, but it wasn't my passport to Bollywood. At that time, no one understood that it is possible to learn acting in an institute.

My whole life has been basically trying to find intelligent students or, you know, highly motivated students and giving them an opportunity to do good science.

Increasing postsecondary enrollment and success, particularly among first-generation, low-income, and minority students, is good for students and our state's economy.

Students follow rules. Students complete assignments. The job of students - in part, at least - is to please their teachers. Now, I realize I may be exaggerating a little here, but basically I think I'm right: students do what they're told.

Public education for some time has been heavily focused on what curricula we believe will be helpful to students. Life-Enriching Education is based on the premise that the relationship between teachers and students, the relationships of students with one another, and the relationships of students to what they are learning are equally important in preparing students for the future.

Most teachers of self-discovery have two types of students. They have students they deal with in a more exoteric way than the esoteric students. Esoteric truths are presented to usually a smaller group of students.

I encourage film students who are interested in cinematography to study sculpture, paintings, music, writing and other arts. Filmmaking consists of all the arts combined. Students are always asking me for advice, and I tell them that they have to be enthusiastic, because it's hard work. The only way to enjoy it is to be totally immersed. If you don't get involved on that level, it could be a very miserable job. I only have one regret about my career: I'm sorry that we are not making silent movies any more. That is the purest art form I can imagine.

My enthusiasm for joining the New York Film Academy is predicated on my personal explorations into video as well as a sense of responsibility to share my extended experience of photography with committed students in both mediums.

I notice that students, particularly for gay students, it's too easy to write about my last trick or something. It's not very interesting to the reader.

Film theory has nothing to do with film. Students presumably hope to find out something about film, and all they will find out is an occult and arcane language designed only for the purpose of excluding those who have not mastered it and giving academic rewards to those who have. No one with any literacy, taste or intelligence would want to teach these courses, so the bona fide definition of people teaching them are people who are incapable of teaching anything else.

I have somewhat lost my enthusiasm in the last years. Mainly because film students using digital video these days have not really produced anything which is more than superficial or simplistic; so I have my doubts.

When students get into a great university, it's a huge aspirational lift for their village. These students become beacons of hope.

I have find that today's students are often more tolerant of human variance than students in earlier generations might have been. On the other hand, some of our students need much more interaction with a wide variety of peers so they level of understanding deepens and so they are prepared to live in a world that is only going to get smaller.

When I was teaching at an institution that bent over backward for foreign students, I was asked in class one day: "What is your policy toward foreign students?" My reply was: "To me, all students are the same. I treat them all the same and hold them all to the same standards." The next semester there was an organized boycott of my classes by foreign students. When people get used to preferential treatment, equal treatment seems like discrimination.

When I turned 17, I created a website for the students at my University. It enabled students to share lectures and discuss exams, and became popular very quickly.

It's a very good thing for students also to be exposed to people who aren't film students or film scholars but who work in the world of film.

Many students learn best by doing. But because classrooms force the same pace on all students, they limit the degree to which students can truly learn through trial and error. Instead, lectures still force many students to follow material passively and in lockstep pace.

By letting parents and students decide what is best for them, our education system is working the way it should be - equipping students with skills to succeed.

The real trouble with film school is that the people teaching are so far out of the industry that they don't give the students an idea of what's happening.

When I talk to film students, I always say, 'Buy the DVDs and listen to the commentaries, look at the making of, look at the behind-the-scenes,' because that's such a great learning tool.