Top 1200 Animated Films Quotes & Sayings - Page 18

It wasn't my childhood fantasy to work with Truffaut or be in obscure films. I like Midnight Run better than I like The Bicycle Thief. It was films like Die Hard and Bladerunner that made me want to be an actor.

I started, actually, to make my first animated cartoon in 1920. Of course, they were very crude things then and I used sort of little puppet things.

Postmodernism came nowhere close in quality to Modernism at its apogee, not least because that later style wholly lacked the social impetus that animated the designs most emblematic of the Modern Movement.

Good action films - not crap, but good action films - are really morality plays. They deal in modern, mythic culture.

I was an only child. I needed an alternative to family life - to real life, you could almost say - and cartoons, pictures in a book, the animated movies, seemed to provide it.

There's big studio films I didn't want to do. I didn't want to go through the hoops and ladders. I wouldn't have been able to work with the directors I've worked with if I did those studio films.

I hate films. Films make me sick now, and if something makes me sick, I always back off.

When I first started working at Disney animation, I can't tell you how many people said to me, 'Oh, man, take a powder.' Nobody takes animated musicals seriously. I swear.

I have done theatre, and I enjoy the process of smaller films a lot more. When I do such films, there are certain things which I get to do which are untapped. The scenes give me the liberty to play and mould the character in accordance to the director's mindset.

Films are not mathematics - that's the first thing you need to understand. At least, that's how I feel. They are not words on paper. Films are made with people, with teams and with individual bundles of creativity coming together to fulfill the vision of an individual who is the director of the film.

I can't dance like Hrithik Roshan. I don't have the necessary glamour like some of the other actors do. They are able to sell themselves on that aspect. I do roles and films which are very realistic. So, in those films, if you don't get into the skin of it, they won't look convincing.

I tend toward more adult fare, and I would love to do a voice in an animated film or something the boys could go see, but at a certain point, I made peace with myself about it.

Film can do lots of things: It can produce alternative ideas, ask questions, just record the reality of what's happening, it can analyze what's happening. Of course, most commercial films are controlled by big corporations who have an interest in not doing those films.

I like the platform to show your art and everything that goes along with that. To show your voice and hopefully find films that are more politically driven, films that maybe inspire.

I think we have a responsibility to shape the zeitgeist with the movies we put out there. Because 'After Earth' isn't going to do it. 'The Expendables 3' isn't going to do it. You could make one million amazing films for the amount of money they spend on those films. I get frustrated.

When you're making under-million-dollar films, it becomes so much about actors' availability. When you're using big actors for small films, you're in second or third position to the big monoliths.

The main reason why I'm a documentary filmmaker is the power of the medium. The most powerful films I've seen have been documentaries. Of course, there are some narrative films that I could never forget, but there are more documentaries that have had that impact on me.

I had fame and wealth and things that are supposed to make you happy, but I wasn't happy, because there's no importance on having a fulfilling life. So in my mid-40s, that was my pursuit - making films that interested me, films that I would like to go see.

When I went to film school about three years ago, the first two years you're required to make a series of short films. I started making films based on short poems.

There are several other sources of enjoyment in a long voyage, which are of a more reasonable nature. The map of the world ceases to be a blank; it becomes a picture full of the most varied and animated figures.

As a filmmaker, I've had films that over-achieved and I've had films that under-achieved. You always go in trying to do your very best.

As a kid, my dad would take me to see indie films when I would visit him in New York. Films that I just wouldn't see growing up in the Bay Area.

Can storied urn, or animated bust Back to its mansion call the fleeting breath? Can Honour's voice provoke the silent dust, Or Flatt'ry soothe the dull cold ear of Death?

Anyone can buy CG technology. It's not that it's easy to make those films. Those films are just as difficult, they're incredibly hard to make.

I like action films, not exclusively, but I like Samurai films. I like Westerns. Not so much war pictures, but a few. I like kinetic cinema.

Studio films are really fun. You have months and months to shoot. With the smaller films you get to be on a much more intimate set and have to get things done quickly.

I have got lot of appreciation for my performances in many Kannada films. In fact, I got the best roles of my career in Kannada films.

I am often asked at what point in my love affair with films I began to want to be a director or a critic. Truthfully, I don't know. All I know is that I wanted to get closer and closer to films.

My mother never told me anything, she is just concerned about my happiness. She only watches my shows, not my films. In fact, we never discuss films.

It's gotten out of control. It's taking bigger and bigger names to make smaller and smaller films. I worry that important films without a big name attached won't get made at all.

To those of us who have seen all of Eric Rohmer's films, it is impossible not to remember when, where, with whom we saw each one. I even remember the second and third time I saw his films.

There's a lot of possibility in the 'Pacific Rim' universe for additional stories to be told, whether that's additional graphic novels or animated series or video games or movie sequels.

I would not have been interested in doing just a revenge film simply because I have seen so many revenge films right from Clint Eastwood films to Amitabh Bachchan's 'Zanjeer', 'Sholay' and 'Ghayal' and various variants of them.

I think about a lot of my favorite directors, and I think about their first films, and I have great admiration for the earthiness of those films.

Unlike Facebook or Instagram, Twitter's core experience isn't about photos. It's a world of text, with occasional embedded photos, animated gifs, and short video clips.

People use location as a language in films, and Quentin uses action as a language in his films. There's really not a lot of violence. It's more of an emotional beat than it is a physical beat

I intend to work until the day I die. I retired from feature-length films but not from animation. Self-indulgent animation. It's nice that I have the mini-theater in the museum. Most of the museum visitors attend the mini-theater screenings and we've never had a complaint about the quality of the films. I'd like to continue to make films that leave the audience satisfied, but I also think it's pointless unless I offer them the kind of animation they can't get anywhere else. They're fun to do. They're short so it's less stressful.

Neither Rainer Werner, nor any of us could have succeeded, or produced the number of films that we did, just on our own. We showed our films to each other, discussed them vigorously and rarely agreed.

Male and female gossip also sounds different, as women use more animated tones, more detail and more feedback.

I've always had the perspective that roles come into my life when I need them most and sort of teach me lessons. The same can be true of films, films are released into society to aid in a lesson, inspire people, comfort people.

I feel a lot of films that are shot digitally, even low-budget independent films, they look super slick now. Because the technology is so good that they look too good.

Well, I'm really interested in the idea of making genre films, but movies have a much more personal undercurrent to them and that look beautiful, and that's sort of the films I'm kind of interested in making.

People use location as a language in films, and Quentin uses action as a language in his films. There's really not a lot of violence. It's more of an emotional beat than it is a physical beat.

The only thing I do worry about is that the more films I do the more visible I am going to become as a personality because of press and because of the sheer quantity of films.

What I know is that I am honest about my films, and my films are honest about reality. The stories themselves dictate the way that they should be told.

After watching Guru Dutt's films, I became a huge fan of Sahir Ludhianvi's poetry and the songs of Guru Dutt's films.

I've made a lot of stupid action films in my life but I like stupid action films and am kind of proud of them.

'25th Hour,' like a lot of my films, takes place in New York City. I've been very fortunate to make films in the city that I live. I mean, it's great going home at night instead of being on location.

I do want to say things in these films. I want audiences to come out with shards stuck in them. I don't care if people love my films or walk out, as long as they have a strong response.

Top 1 Percent progressivism emphasizes the idea of fairness - but it's nevertheless a politics of outrage, animated by at least a trace of envy. It's as if 'millionaires and billionaires' were the principal problem facing America today.

I'm a fan of films in general; I mean, I don't think I've ever considered myself specifically a horror fan even though I do enjoy horror films, find them really entertaining.

I have done many comedy films. Success of films like 'Partner,' 'Singh is Kinng' gets you to a very wide audience reach. But for greater gains, you need to take greater gambles. If it works, you get respect and recognition.

My agent in London says all New York films are wonderful if they're really New York films because they're like travelogues.

Ideally, that's what you've got in an acting career is an equal number of dramas and comedies and an equal number of small films and big films.

Whenever I sign a couple of films, people say I'm not paying attention to my constituency. Whenever I go to Rampur or elsewhere, people ask me about my films. It is strange, really.

There's a fashion, or maybe you could call it a necessity, in French cinema to make social films, which is to say films in which the characters are defined by their social context.

At best we are but clay, animated dust; but viewed as sinners, we are monsters indeed. Let it be published in heaven as a miracle that the Lord Jesus should set His heart's love upon people like us.

You can't expect to connect with everybody, and that's all right. The more I make films, I'm learning that you don't have to make films for everybody. A film can be made for a smaller group of people than that, and it still warrants an existence.

With animated film, you have to create the sonic world; there's nothing there. You get to color things in more and you're allowed to overreach yourself a little bit more, and it's great fun.

There's the animation ghetto of feature films in this country. There's this flavor at DreamWorks, and Pixar does their own thing, and generally they're safe. But if you look at Walt Disney's original films, at the time and in the context, they weren't safe. They were really dark and troubling.