Top 1200 Popular Film Quotes & Sayings - Page 20

Puerto Rico is beautiful. I mean, I love it. But it's hard to film here. It's hard to film an action movie here where you're outside, and you're running around all day.

I did my first film Junglee and it became a hit. That film was the first one to bring the real colour on the big screen, which was Eastmancolor.

We just constantly worked on second Saw film, it's not an Academy award level film, but we worked as hard we could to make it plausible.

I teach film directing, inasmuch as you can. Its not really possible to teach film direction, but I sit there as a sort of testimony of experience and know-how, I suppose.

It has to be 'The Piano' by Jane Campion. It inspired me to pursue my dream to direct. It is not just my favorite woman-directed film - it is my favorite film.

It's hard to see a film one time and really "get it," and write fully and intelligently about it. That's a review. That's not film criticism. And there's so many expectations involved, too. You're going in to see the latest Martin Scorsese or Stanley Kubrick film, you really have high hopes, and you can't help but find that it's not exactly what you had in your head going in. Until you can watch it again, you can't accept the work for what it intends to be. It takes at least a second viewing.

I teach film directing, inasmuch as you can. It's not really possible to teach film direction, but I sit there as a sort of testimony of experience and know-how, I suppose.

When you go to a film festival as an audience member, it's so much fun. But when you bring your own film there, you carry so much stress and excitement.

There was a film class in my high school in Northfield, Minnesota, which was very unusual. I saw my first Buster Keaton film there, aged about 15. It made a gigantic impression on me.

'W.' is not necessarily a political film, but it was sort of a contrasting reality for me to get into George W. Bush as a character because of how I felt about his administration before I started making the film.

The only obligation you have as a film-maker is to tell your version of the truth and to use your film to illuminate reality. Whatever that means.

I used to set out and do a film and say, 'This is going to be the biggest film I've ever done.' But that's not the right approach. The approach should be the work.

As a principle, I will never react to film criticisms. As long as they are part of film fraternity, whatever they say will be beneficial to cinema.

Instead of saying 'unique,' I will say 'Kattappava Kaanom' is a very special and lucky film for me because I got the chance to step into Hindi film industry when I was in the shoot of this movie.

I spent all of my money on film. I remember I would do these set-design jobs or transcribe or just anything to get, like, a $100 check and go immediately to Adorama and buy expired film.

I don't believe in inspiration that arrives like a bolt from the blue ... It seems to me that the more motivated I am by what I film, the more objectively I film.

I'm aware that a film is different than a play, and that a film isn't going to be the filmed record of the play. It's its own separate entity, and I've come to peace with that.

TMOK' is a family film, and everyone would like to watch the film. I'll be very happy even if I get 50 to 65 per cent of the box-office opening that 'Ra.One' gets.

Making a film, every film, is a big gamble, large or small. The more that you do it, the more you're aware of that.

I used to hate doing color. I hated transparency film. The way I did color was by not wanting to know what kind of film was in my camera.

It used to be that if you were on a sitcom you couldn't get work in film because it was so different. Now it's almost like you have to be on TV to do other film work.

Eventually, the outcome of a film is not in my hands. What I do while making the film is in my hands, and that is what translates onto the screen.

I went to Princeton to major in comparative literature. I never went to film school, but I studied storytelling across mediums - poems, literature, film, and journalism.

I never feel that because of my presence a film will taste success. A film's success or failure does not totally depend on me.

Anyone who's made film and knows about the cinema has a lifelong love affair with the experience. You never stop learning about film.

You also convert real memories, whatever that means, into film versions of those memories. Because by the time you've finished the project you can't remember the real memories anymore, you just remember the film versions of them. And then if the film failed you have distaste for them. So I don't think about that stuff anymore.

For anyone to say that The Rock made a bad decision in pursuing a film career, with the success that film career has garnered, is ill-advised.

If somebody feels that a certain recreation fits into their film or a particular song fits into the film, I think that is the reason those songs are picked.

If were were in a film, the villain would turn out to be the least-expected person. But as we aren't in a film, I'd go for the character who tried to strangle you.

I auditioned equally for film and theater. The difference is that theater has seasons, while film, it's always happening.

My family believes in a good script and ultimately everything that is attached to it. I am more interested in a hit film than a good film.

The ethos of most films is that you make a film, you exploit the community, you exploit the environment, and it's OK because you made a great film, you know?

Well, there's two things I have criteria for doing a film: The script, which is the story, and the filmmaker, and it's a filmmaker's medium. I like really strong directors, and so when I do a film, I'm out there to serve the director, really, which is in turn to serve the script, to serve the director cause he's the one making the film. I relied on Todd Haynes for that.

'Bubba Ho-Tep' was an accidental story that turned out to be my first film adaptation, and it's still going strong in story and film.

I have a film out called 'Nobel.' Film is something I would love to explore more, even though I love being on the stage.

The kind of sleep that I had during my own film [Certified Copy] screening in Cannes is different. It's not because of the specificity of the film. It was because of my relationship as an author to this film. Usually when I take my films to festivals, I feel incredibly anxious about them. I wonder how it will be received, how the audience will react. I feel deeply responsible for them. Whereas this time, I didn't have that responsibility on my shoulders.

I had signed a four-film contract at the time of the first 'Deadpool' film. So I always knew that I'd be working in the subsequent installments of 'Deadpool.'

A good film demands its own score, and if you are a musician, your conscience will never allow you to do something mediocre for a good film.

It was a film that I knew, that I had seen, that I was familiar with, but I wasn't anxious about it at any point during the screening. I snoozed twice, and this is something I couldn't have imagined that I would feel detached, as I did with this film [Certified Copy].

We had a hodgepodge of footage. We didn't film [in Dream of Life ]all the time - we would just film periodically, so nothing was synced and nothing was slated.

If I could film, we'd film every episode of 'Doctor Who' in New York. I have an affinity with the city. It has some wonderful locations and it is devastatingly vast and huge. Central Park looks amazing on camera.

I treasure the dark hours in a theatre. But I don't think that, if a film does not reach the theatre, it is, therefore, not a film.

'Beyond the Lights' was my fourth film. I gained a lot of knowledge, and I'm excited to share that with young filmmakers because I know how lost I was coming out of film school with that question of 'What's next?'

There hadn't been one done since the late 70s. I was living in Brooklyn, had no connection to Roger Corman, to no one in this movie. I didn't go to film school. I'm like the person who should have never made this film. But I just decided to put one foot in front of the other. I was writing film articles for magazines at the time. I convinced an editor from one of the magazines that I was working for to give me a shot to do a piece on Roger. This was an excuse to go meet him.

The motion picture is like journalism in that, more than any of the other arts, it confers celebrity. Not just on people - on acts, and objects, and places, and ways of life. The camera brings a kind of stardom to them all. I therefore doubt that film can ever argue effectively against its own material: that a genuine antiwar film, say, can be made on the basis of even the ugliest battle scenes ... No matter what filmmakers intend, film always argues yes.

I want to bring something different to every film. I get a bit tired of actors who kind of are the same character in every film that they do.

After film school, I would write 8 hours a day on film and 8 hours a night on TV, and then sleep once and a while.

In my heart of hearts, I love theatre. It's the joy and terror of putting a play on, the creativity of it. It is infinitely harder than film and television and more tiring. Your performance is heightened in the way it isn't with film.

It occurred to me that by naming the film itself 'Dear White People,' I could tap into the burgeoning meme culture as well as make a meta-commentary about the controversies within the film.

I used to be a die-hard defender of physical film, which I still am. I love shooting on physical film and I think it's great.

This worldwide spread of recognition is insane. I was brought up in a small country. If you made a Swedish film that just got into a film festival somewhere, that was like the biggest thing you could wish for.

As soon as you're at the higher levels of budgeting, you've got to get the film made, and the only way to support the film is to have actors who can support the budget.

Everybody who worked in film misses holding pieces of film, holding it up to the light, and seeing exactly where something was image-wise.

For my first Hollywood film, I really didn't want to be doing a film where I'm looking like a stooge with fake snakes that look like socks.

It's good that they've seen it, but how can I be satisfied after working for two years making a film which I hope will make a difference, when the government sees the film and does nothing about it?

Loving a film is like falling in love with a woman or with a man like you never expect it. It it's not the one you think you will be in love with, you know. You think always that he will be with a beard, and black, and big and finally he's Chinese and you know it's the same thing. There's something very organic about the film and if you forgot it, if you don't have this seed in it...this organic flavor in it the film doesn't work it's wrong.

I used to be a film and music journalist, and wrote for different magazines in the 1990s. I still love music, but the experience destroyed my enthusiasm for film.

When a film does well, everyone is usually happy and grateful, but for me, the impression the film leaves upon my mind is created during the process of filming; my memories are not a reflection of critics' reviews and box office figures.

When you tell a film financier that you want to do a Shakespeare film, their face drops. Shakespeare films don't have a very wonderful history at the box office.

It seemed like a wonderful honor to have the Film Society of Lincoln Center screen 'The Films of Raquel Welch.' It shows a lot of a variety in what they've chosen; it kind of runs the gamut of my film career.