A Quote by Cillian Murphy

It seemed to work on camera. And there's very few films - because you make a lot of films and you meet people and you work very intensely and intimately and then you're gone - but there's a few where you actually make friends, and this [The Fall] was one.
There's very few people who want to just make beautiful films that make money, when they can make films that make huge money.
There's very few people who want to just make beautiful films that make money when they can make films that make huge money.
There are very few films or plays or anything about really happy people with perfect lives. Everyone is usually screwed up in some way and that is usually where the work comes in - figuring out how to make it believable and make it real to present someone.
I don't see me doing $100 million films because $100 million films, the very nature of them, you need to offend as few people as possible just to make your money back.
I've done a few studio films in the last few years where I feel like I've done good work, and then I only end up in two scenes. That's been very disappointing.
I do love the films I've done in the past. I work hard in my movies and my friends work hard and we're trying to make people laugh and I'm very proud of that.
What makes a lot of suspenseful films work is very, very particular points of view and very subjective use of the camera.
I like to work with people who want to make films because they are passionate about films and not because they want to sell films and make money. I am not for people who get the most saleable actor and then the most saleable director and sell the film.
A lot of people love Tarantino’s films because they’re spectacular, they’re beautiful, they’re wonderful. He hires the best group of artists - not only actors, but everyone around: best photographers, best set designers, best production designers, costume designers. A lot of people love his films because they’re bloody, they’re gory, they’re savage. But very few people see that he’s a very political director.
I don't watch my own past films: when I watch them, I find they don't work very well, because I have changed. If I continue to make films, in fact, it is because I always want to repair my films. My inner rhythm has changed; I have changed. I have changed my way to film.
Very few movies remain in public memory as landmark films, and I want to see whether '3 Idiots' will be up there with some of the wonderful films that have come out of this country... Hopefully, we'll come to know in a few years whether it can become one of the great films.
Very few movies remain in public memory as landmark films and I want to see whether 3 Idiots will be up there with some of the wonderful films that have come out of this country...Hopefully, we'll come to know in a few years whether it can become one of the great films.
When filmmakers are kept from making films, there's a lot of different reasons why. Sometimes you work on a film and cast it and do all the work and can be just a month away from shooting, and all of a sudden, the whole thing goes up in smoke. But I do think the advent of a digital revolution is going to provide people with opportunities to make films that they never would have had before. I think you can do some pretty credible stuff now with very, very little money. Which I think is great for young filmmakers.
I've been able to make some wonderful films, but sometimes you make films with great passion - great belief - and these films slightly don't work at the box office, and they become your favorite films.
I was slightly disheartened when three of my films didn't work at the box-office. But the silver lining is that people did appreciate my work in those films. Had my performance gone unnoticed, I would've been in big trouble then.
No matter what, I'm in a very small club. There are very few women who have directed studio-level commercial films - very few.
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