A Quote by Sid Vicious

Films are about lies. They're about making things look glamorous. — © Sid Vicious
Films are about lies. They're about making things look glamorous.
I'm a big believer in playing truth and not doing things for effect. It's not about whether you look pretty or glamorous. It's about whether people connect.
Films have been my only passion in life. I have always been proud of making films and will continue taking pride in all my films. I have never made a movie I have not believed in. However, though I love all my films, one tends to get attached to films that do well. But I do not have any regrets about making films that did not really do well at the box office.
I've heard about brothers making films, but I've never heard about whole families making films like this. We didn't intend to do it; it wasn't something that we planned - it just gradually happened.
[Ted Cruz] lies about things that he shouldn't be lying about. He lies about things that don't matter.
The independent films are really where I kind of come from and where I feel comfortable. It's never been about the blockbusters and making a huge tonne of money. It's always been about wanting to do projects about the things that I think are important to be out there.
There are so many lies out there about what the good life is whether that's making as much money as you can or just being the best you can be. I just want to challenge those lies and look at what God says the good life is in His Word. He says that the good life is about believing in God and embracing everything that He has for us.
But the process of making a film is not glamorous. Certainly not my films.
There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.
Mel Brooks is an interesting one because he started out making films about stuff that he was totally affectionate about, like musicals, westerns, horror films, Hitchcock films. And then, as they get further on, and you get to 'Spaceballs,' then it's just kind of contrived.
Many people think making a film about history... about war... about the Holocaust, it might be heavy, dramatic and traumatic. I don't see things like that... you can find irony everywhere. It's how I look at life.
I don't come from a film background. I haven't learned anything about films or film-making. But I have a thirst to know everything about my profession. I want to learn about cinematography, about editing, about music recordings, about post-production. So when people in the know talk, I willingly listen.
The studios are making fewer films. They are making more expensive films. Profits are tougher to come by. Not only because of the expense of production. But also because of the expense of promotion and hype. To boil that all down, it's more about hype than it is about filmmaking.
I'm a big believer in playing truth and not doing things for effect. It's not about whether you look pretty or glamorous. It's about whether people connect. That's important to me in any work I do. For me, the key is always trying to find the connection between the audience and the character I'm playing.
I can't always be making "British films". Why should we be making films about corsets and horses and girls learning to drive when Americans send over an event movie and make five or 10 million?
I can't always be making 'British films.' Why should we be making films about corsets and horses and girls learning to drive when Americans send over an event movie and make five or 10 million?
There's always something at least a little smug about self-reference - magazine articles about idealistic journalists, TV shows about TV actors, ironic films within ironic-er films: all this meta-media populated by thinly disguised characters making oblique inside jokes.
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