A Quote by Dennis Farina

I had seen 'Lock, Stock and Two Smoking Barrels' and I thought that was a different kind of film than I'd seen before, with that kind of editing and slick camera movements. — © Dennis Farina
I had seen 'Lock, Stock and Two Smoking Barrels' and I thought that was a different kind of film than I'd seen before, with that kind of editing and slick camera movements.
I was in 'Lock, Stock and Two Smoking Barrels,' and I like my bad boy movie movies.
I thought 'Lock Stock' was a good film. I thought 'Lock Stock' was a good film because I think it was a one-off before it was imitated a hundred times.
I've got the FA Cup tattooed on my leg and the Leeds United emblem, too. On my back, I've got, 'It's been emotional,' which is my line from 'Lock, Stock & Two Smoking Barrels.' I'm fond of my tattoos, and I'm still having more.
When i've done camera test, after we've shot and I've seen the monitor with the glasses (wearing a Kimono) and looking by myself in 3D. Oh my god. Especially for a Samurai film. I've never seen that. It's kind of a culture shock.
I was excited to play a bald guy in 'Ujda Chaman' because I had seen the Kannada film 'Ondu Motteya Kathe.' I loved it, and I felt inspired. It was the kind of movie that I wanted to do. I thought this film was offering me a very different role and an opportunity to perform.
You know 'Ninotchka?' I recommend it. It's kind of a mess, too. It was before, you know, we got slick editing tools, so it kind of chops along.
Teaching regularly has made me an even more adept reader, I think. The kind of teaching I do is more like editing than anything else. The kind of editing book editors used to do before lunch. The kind of editing I used to do as a radio documentary maker.
The difference between an amateur and a professional photographer is that the amateur thinks the camera does the work. And they treat the camera with a certain amount of reverence. It is all about the kind of lens you choose, the kind of film stock you use… exactly the sort of perfection of the camera. Whereas, the professional the real professional – treats the camera with unutterable disdain. They pick up the camera and sling it aside. Because they know it’s the eye and the brain that count, not the mechanism that gets between them and the subject that counts.
I met Michael Snow and Stan Brakhage the second day after I arrived, you know. I had never seen or heard of Brakhage. For me, it was a revolution, because I was well educated in film, but American-style experimental film was known to me in the abstract, and I had seen practically nothing. I had seen a film then that Noël Burch had found and was distributing called Echoes of Silence. It was a beautiful film, three hours long. It goes forever and it was in black and white, very grainy, and I saw that film and I thought...it was not New Wave. It was really a new concept of cinema.
When I got cast in 'Rocky IV,' I had never seen a film camera before. And here I was in this boxing movie.
I was lucky because I used to live right next to a video-rental store. I used to spend so much time watching films. So I've seen a lot. I used to watch 'Dynasty' and 'Dallas' and have seen every kind of film. I've been influenced by everything I've seen.
When I got the camera on the shoulder, they give me a nickname. They call me 'the tripod' because I'm kind of short and kind of strong. So if I take the camera and I lock myself, you think that you're on a crane.
Sanguine felt the ridiculous urge to reach out and poke him, just to see if he’d react, but he’d seen that kind of anger before. It was the quiet kind. The dangerous kind.
I thought, 'My God, I'm gonna make $15,000 a week for 13 weeks.' What would I do with that kind of money? You know, I had never seen anything like that before in my life.
I've seen fire and I've seen rain I've seen sunny days that I thought would never end I've seen lonely times when I could not find a friend But I always thought that I'd see you again.
It is surprising that people do not believe that there is imagination in science. It is a very interesting kind of imagination, unlike that of the artist. The great difficulty is in trying to imagine something that you have never seen, that is consistent in every detail with what has already been seen, and that is different from what has been thought of; furthermore, it must be definite and not a vague proposition. That is indeed difficult.
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