A Quote by Tim Roth

I don't care to analyze acting. On the other hand there is a fascination because distributors are putting out British films. You get films here with great performances you'll never see again. Why compare. We should go after the businessmen.
I guess why the Ocean's films are hard for me is because on the one hand you have to make sure the performances are there, but on the other hand it's a film that demands, to my mind, a very layered and complex visual scheme. That takes a lot of time to figure out.
Even today, I'm not sure why I make films or what makes me want films. I think it's other people's films. Whenever I see a really great film, I think, 'I want to make a film like that.' And then I never do.
All of a sudden, there are great Japanese films, or great Italian films, or great Australian films. It's usually because there are a number of people that cross-pollinated each other.
Some of the gangster films I made - not so much the 'Krays,' because I'm really proud of that - but some of the films I made after that... There are a few of those movies I wish I'd never gone near. I'm proud of about 10 percent that I've ever done. If I never see the rest again I won't mind.
I am so picky about what films I get myself into because it's such an explosion of energy and commitment once you get in there, you destroy your life until you deliver these films. I never want to be in the position of making films that won't be a great use of 90 minutes of someone's life.
I like independent films... European films. I do go and see popular films as well because my kids force me.
I find the stuff that is exciting to me are the films coming out of Taiwan and Iran and France. So I have the feeling I'm not making the films that American distributors want to make.
In fact, I had never imagined that seven years after my ordeal, the #MeToo movement will start and that I will be talking about it all over again. This is nothing but karma. Dibakar has directed six films, even though I didn't get any films after I went public with my allegations.
I have to tell you this - as a teenager, I never used to see any horror films till I started acting in films.
After college, I funded my short films with acting roles in film and TV. I learned my craft through the great opportunities British television gave me as a director.
After college I funded my short films with acting roles in film and TV. I learned my craft through the great opportunities British television gave me as a director.
Meryl [Stripe]spoke out about the low percentage of female critics on Rotten Tomatoes. Why are there 760 male critics and just 168 women? You are immediately [biased] on what kind of films you are being told to go see. What are you told are good films? Male films.
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?
I think the British industry is set up to support British film, if we make films that enable them to support it. If you don't make a commercial film, distributors can't get behind it. If they don't get behind it, the film doesn't do well.
I must be honest and say that I was under the fascination of films. I was fascinated by all films, even the words of them. If I was to do a more-precise analysis of the situation, I have to admit that I was more entertained by the bad films than the good ones. Because when something is beautiful, it is there; it is finished; it is done. It doesn't have to be touched or be worked upon.
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