Top 1200 Film Adaptations Quotes & Sayings - Page 20

Unlike all the other art forms, film is able to seize and render the passage of time, to stop it, almost to possess it in infinity. I'd say that film is the sculpting of time.

The 'Station to Station' film is a fast-moving journey through the modern creative landscape. It's a kaleidoscope of voices and impressions rather than a standard linear film.

The film that I go on about and drive people mad is 'Don't Look Now' with Julie Christie and Donald Sutherland. It's the best married couple acting you have ever seen in any film, the way they are together.

The director is the only person on the set who has seen the film. Your job as a director is to show up every day and know where everything will fit into the film.

The idea of watching an entire film basically from one person's perspective - and not even really from their perspective, but [it's] probably the most intimately shot film that's in any of these categories. If you're not familiar with Son of Saul, basically it's a film about a Jewish guy who's in concentration camp, but he helps dispose of the bodies after they leave the gas chamber. So, you watch the entire movie looking at Saul's face and looking at his interactions with people.

Always remember, there's no point trying to be faithful to the book because film and writing are just two completely different things. Any film stands on its own, apart from whether it's based on a novel.

I grew up in a film-loving family. We watched the Oscars every year. My favorite thing in the whole world was film. The Oscars obviously was the holy grail.

The other main difference between film and television is that you have the opportunity to flush out a character, over a longer period of time. Whereas with a film, you're confined to two or three hours, or whatever it may be.

I do enjoy filming, but I do consider myself still to be a bit of a novice, and I learn a bit every time I do a film job, and I am very admiring of film actors.

I come from a place where getting a call to do a film is a big thing. I would work double hard to better a partly-convincing film than be without work.

We have to do a film parody for Comic Relief. We can't decide which film to parody at the moment. Any ideas welcome, but not Spiderman owing to costume being too tight.

I want to do roles that provoke us to think differently or realise ourselves in a new light. Characters of women who have an interesting story to tell. I'd love to do a period film, an action film, a character study.

I think there are specific times where film noir is a natural concomitant of the mood. When there's insecurity, collapse of financial systems - that's where film noir always hits fertile ground.

I, Daniel Blake' is a powerful and moving film. But it is a political polemic and is particularly unfair on the public sector professionals who work in Job Centre Plus, in my experience they are proactive and helpful. Completely at odds with their portrayal in the film.

I think being attracted to mistakes is one of the things that film can capture in a way that theater can't. Film can capture a moment of spontaneous life that will never be captured again.

Before writing a single note of music, and even before the spotting session, I find it best to sit down with the director and just listen to him or her talk about the film - what they're trying to say, what they want the audience to understand or believe, and a thousand other similar questions. The director has most likely been living with the film for years before a composer is attached, and so the director's inclinations, desires, and understanding of the film are paramount.

The colors of 'The Nutcracker' ballet score have become a part of the vocabulary of film music. It's where so much of the 19th-century romantic music that I call upon as a film composer is rooted.

Rather than being a prop in a film with big actors, I would love to do a meatier and more meaningful role in a film that does not feature a big actor.

My 'Devdas' was a tribute to all the mainstream masters, from Mehboob Khan, K. Asif, and V. Shantaram to Raj Kapoor. I am not saying critics shouldn't have criticised my film. But they should have judged the film within the genre and format that I had chosen.

The reason why bookstores are going out of business in the States is that people just can't focus on longer narratives now - even narrative film is in crisis in many ways, unless it's an adventure film.

'Masoom' was like a picnic for all of us. We kids just wanted to have fun acting in the film. We never realised when the film was completed. When we did, we realised the party was over.

I wrote the screenplay for 'Water Lilies' while I was studying screenwriting at La Femis film school in Paris, and the director Xavier Beauvois, who was on the graduation committee, told me I had to make the film myself.

A film like 'Shirdi Sai' caters to the family audiences, while 'Rajanna' evokes patriotic sense in viewers. 'Damarukam,' on the other hand, is a full-length commercial film made for the masses.

A learning experience is the best way to sum up my first film credit. It's hard to break into the film industry, and it was a minor role but still my only shot at the movies while I was doing theater.

My first film, 'Like Minds,' was with Toni Colette, who was extraordinary. I mean it was basically a mini-masterclass for acting on film at a time when all you could probably see were my eyebrows bouncing up and down on screen.

A funny thing about film is that it's the only medium where people say there are really rules that you have to stick to. Nobody says to the writer - in a film you've got to have three acts - there's a character arc you have to do - there's no reason that's true.

I could have made a small film and kept all the money from 'Life is Beautiful'. Instead, I spent more money than I had on 'Pinocchio', a very risky film.

Well, it wasn't a holiday, but I had expected to do some sightseeing when I went to Haiti to film a series called 'True Horror' for Discovery. Before I arrived, our film crew were kidnapped and held at knifepoint.

I will say that comic books are not the easiest things to translate to film, number one. Even the most well meaning of filmmakers find what's acceptable on the printed page is very difficult to bring to film.

I grew up with 'Cinderella.' So that was my go-to Disney film, definitely. It was princess-related, and coming from a smaller area in Illinois and wanting to do something greater than myself in Broadway, that was a film that I could really relate to.

I like to act in films, I like to shoot 'em, I like to direct 'em, I like to be around 'em. I like the feel of it and it's something I respect. It doesn't make any difference whether it's a crappy film or a good film. Anyone who can make a film, I already love. But I feel sorry if they don't put any thought in it because then they missed the boat.

The template that 'Infinity War' is following is a very different, complex template because you've never seen so many characters in one film. It obviously has to be a multi-perspective film.

The challenge to me as a director was for the audience to see the film as going on in a straight line, so that they did not sense all of these break-ups. I did not want a film to be a collage of all these images.

I love film and I love the film business. And I don't think there's any better way, with my personality, than being a producer which is a little bit of a control freak.

Most people don't really understand what it takes to get a film made, and the struggles .I think anyone who makes a film goes through their own set of struggles.

A "name" no longer carries a film. People used to go to the cinema to see a "John Wayne film." And you don't have that thing happening now except in the rock world, which has taken the event out of movies.

I really learned a lot when I worked on my grandpa's film 'Twixt' and got to be with him start to finish and sit next to him every day. That was my film school.

I think the book is less emotional than the film. With the film, the emotions are much more raw and in front. In the book, they are kind of ironized and seen through comedy.

I think 'Neram' gave me the right break. At that time, I felt that the film was experimental and risky, but the film's success made people take note of me.

The fact that certain composers have been able to create first-class music within the medium of film proves that film music can be as good as the composer is gifted.

I directed 'Death in the Gunj' which released in 2017. It got very good reviews and a few awards but did not do well at the box-office. But I'm not bothered. I made the film that I wanted to make. It was not a film for everyone.

The cinematography and the conditions in which 'Meru' was filmed drew me to the project. It's remarkable to think that everything in the film is real; these three men set out to attempt this impossible climb and to film it at the same time.

The biggest difference for me is momentum. On a smaller film you get to shoot sometimes four or five scenes a day and you've got to do the tight schedule. I think I really feel the luxuries of a big budget film.

'Flying Down to Rio' established RKO as a leader in musical film production throughout the 1930s. The film helped to rescue the studio from its financial straits and it gave a real boost to my movie career.

'Satra Ko Shaadi Hai' is a very sweet film. It was the first film that I shot. I play a shy small town boy in it, which is an absolute contrast to what I played in 'Sanam Teri Kasam.'

Released in 1967, 'Farz' was the remake of a Telegu film that was turned down by most actors of the time - Manoj Kumar, Shashi Kapoor, Dharmendra... I was the needy and greedy one then and signed the film gladly.

I love it when I see somebody else make a great film. I think there is a great supportive film community, even though the awards seem to do something weird to that.

The Cannes film festival is about big-budget films but also remarkable films made in different political regimes by film-makers with little resources.

I run my own film school, the Rogue Film School, and I do it over three and a half days, eight hours non-stop everyday; alone, single-handedly. But the difference is in the Rogue Film School I do have real human beings in front of me from all over the world, and of course there's this course as well, they can ask, talk about their problems and obstacles, finances, anything, you just name it. Whereas in the Masterclass, you are speaking to cameras.

The film producers have to understand that melody is the base of Indian music - they have to come back to that. Else, we'll have short lived chart toppers which dim on public memory that moment the film if off screens.

I can understand that an audience, buying a ticket to see a picture of mine, wants to see something funny because they feel confident that at least I have a fighting chance to make a funny film when I make a film, whereas if I make a dramatic film there's one chance in a thousand that it's really going to come out great, so I understand how they feel about that and they're completely right.

There was a Yugoslav film about partisans that I've done the music for, and then I've promised to score a French film called 'Biribi' about detention camps at the turn of the century.

By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.

I found the recording sessions very freeing because you can really try things. When you're filming something, if you're improvising a film and you're wasting film and wasting a cameraman's time.

My hope is that the film Wall Street 2 will actually serve as a way for us to bridge that gap between Wall Street and Main Street. Certainly that's dealt with in the film of how it does affect everybody, so, you know, I always find that when you can create a movie or a play or a book that gives somebody a safe theoretical place to discuss what is really going on in the day it tends to forward discussion, so that would be my hope coming out of the film.

I wanted to do film. I was living in New York and working in theater, but I always wanted to do film.

I've just had the opportunity to see the finished film of 'The Hunger Games.' I'm really happy with how it turned out. I feel like the book and the film are individual yet complementary pieces that enhance one another.

You're more constrained when you're wealthy. Or when you're making a bigger film and people complain about no budgets; but having a small amount of money to make a film means you're at your absolute freest to express yourself as an artist.

I think of film when I paint. Even the luminosity that I always keep working for is really about film. But my idea is not to paint paintings that will decorate somebody's house.

The thing I really love about film is there's a really big sense of teamwork, and everyone has to do their job to the best of their ability to make the film work in the first place.