Top 1200 Animated Films Quotes & Sayings - Page 20

Our films tremendously influence people. But at the same time, no one goes to the cinema to listen to lectures, so if you have an interesting story, and if you can showcase it as a film, and its messages are good, then it's like an icing on the cake: it shall be a superhit. And if I get those kind of films, I'll definitely want to work on it.

Once in a while a good opportunity would come along, like the first 'Playhouse 90 ever to air - working in television afforded me my best opportunities. The (film) industry was going through such turmoil at the time - studios didn't know where to go anymore, they were falling apart, television was there. They didn't know what kind of films people wanted. The European films were making a huge impact because those films wanted real people in real situations.

When I'm looking for Zen and I'm not saying this facetiously at all - I would really rather surf, scuba dive, or fly my plane. And, when I feel tension about the grind of work, it's not getting the money to make films versus making films that constitutes the grind, it's all this stuff.

I think that George Lucas' 'Star Wars' films are fantastic. What he's done, which I admire, is he has taken all the money and profit from those films and poured it into developing digital sound and surround sound, which we are using today.

I am a proud mother - that's another reason I love doing any kind of animation. When my son was growing up, if he was watching something animated and I was in it, that was way cooler to him than seeing me in a movie.

I went to Canada and played in this tiny bar where the windows were steaming up and everybody was so animated and singing along right there at the foot of the stage, looking up, and I got my mojo back .

There is an established tradition of actors directing films that have a particular, personal meaning for them - Warren Beatty, Clint Eastwood, Kevin Costner, and most recently George Clooney to name a few. Remarkably, their films share an unusually high percentage of being very good.

I think the problem I have with films is that, because there's so much hype around them, they become bigger than they should be, really. There are things that people do every day in their little workshops that they'll take to heaven with them. You've got to realise that it's not everything, making films.

When I met Ram Charan, he told me not to worry about how much my films make. After 'Magadheera,' people began expecting big things from him. So he did films to keep up to that expectation. He advised me to not fall into that trap.

I was always raised on cowboy films, and then when I could start making choices about the movies I wanted to watch I found myself wanting to watch gangster films which were slightly more sophisticated than the baseline stuff that was in westerns.

The relationship between the films and the individual Commandments [is] a tentative one. The films should be influenced by the individual Commandments to the same degree that the Commandments influence our daily lives.

Life is not about acting in films alone. There are so many things in life other than films and acting.

Well, I am from India and I wanted to make films in English for the international market in India. So that was really the main thing, and then of course economically it was cheaper to make films in India.

The cost of an animated film really comes down to man hours. If you gather together world-class talent, then the question becomes how do you deploy that talent in a way that minimizes waste.

But if you stagnate, the growth is over. 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.

It is certain that there is no other passion which does produce such contrary effects in so great a degree. But this may be said for love, that if you strike it out of the soul, life would be insipid, and our being but half animated.

People talk about making art films - experimental films. I can make an art film every day of the week. Nothing to it. What's difficult is to combine a commercial film with art.

One day, I read an extremely vague ad looking for someone interested in working in film. Seeing as I loved watching films, I replied, and I found myself working for this guy who did his own personal editing of scenes from Antonioni and Fellini films.

I don't think there has been a huge shift. Most of the films still focus on Salman Khan, Shah Rukh Khan, Aamir Khan, Akshay Kumar, etc. The percentage of films that have someone like a Kangana Ranaut shining in it is really low.

People who grew up watching Disney films like myself, there are films that are certain benchmarks in my childhood. 'The Little Mermaid' was the first movie I remember seeing. 'Beauty And The Beast,' 'Aladdin,' those are three I remember right off the bat.

When I got to high school, they had a morning TV show you could become a part of, and I started making short films for that, most little satirical, laugh-y films about the dean of students being chased by a dinosaur or something like that. And I really just enjoyed it.

You don't see Indians in Hollywood films around which a story can revolve. As soon as we have a social presence in your society, I am sure there will be many actors from our part of the world that will be acting in Hollywood films.

Good films will happen only if there are people to produce good films and there are people to encourage the endeavour.

We have created characters and animated them in the dimension of depth, revealing through them to our perturbed world that the things we have in common far outnumber and outweigh those that divide us.

We must be full reservoirs in order to let our water spill out without becoming empty, and we must possess the spirit with which we want them to be animated, for no one can give what he does not have.

They seem much rarer now, those auteur films that come out of a director's imagination and are elliptical and hermetic. All those films that got me into independent cinema when I was watching it seem thin on the ground.

OK, I wasn't as successful as, say, Julia Roberts, but I'd spent years in a very respectable career, some big American films but a host of other smaller, really exciting, maybe experimental films, being paid rubbish but working with fine people, that was what I thought I was known for.

'Coraline' is Neil Gaiman's book, it sold a lot, it has a big fan base. It was originally conceived to be live action, but I never really wanted it to be. I always thought that it would work better as an animated film.

All the jobs I've gotten in the last two years are because directors have seen the work I've done - indie films, plays, short student films, TV - since I moved to the states in 1996. I mean, I have an entire career in Canada that nobody has seen.

Personally, I prefer contemporary films, but the market calls for more period choices, especially since China opened up a cinema market in Hong Kong. There's a lot of restriction for contemporary films simply because of subject matter.

There's something known as the Uncanny Valley where things look a little too real and you're not quite sure what you're looking at. It becomes weird like it did in 'The Polar Express,' where the eyes seem so realistic, and yet you know it's animated.

Forget horror icon, Kety Bates is an icon. She's an acting icon. I was raised on so many of her films, everything from Misery to Fried Green Tomatoes to Delores Claiborne, all films that I've watched multiple times and been inspired by.

I don't bother about trivial issues. I am the master of my time. I decide how I spend my time. I act in a few films, produce a few of them, and direct a few films.

The day I was born, I knew I was going to act! Okay, that can sound a bit exaggerated, but I knew I want to enter films when I started understanding the world of films and saw my father going on sets. Maybe when I was just a kid.

I like doing Marathi films. I am not too keen on Hindi TV shows. It's very tough to get Hindi films, but if a good script and role comes up in future, I will surely pick it up.

Ever since I was a little kid, the only thing that fascinated me, excited me, and engaged me was Hindi films. I didn't know anything beyond Hindi films. I was a 'filmi bachcha.'

You make a lot of films, do you? You make a lot of films yourself? Yeah, I'd like to see you make a film first before you get to talk about it. What a jerk.

The thing is, right now the films don't need to be overtly political to be about our times. We also need films that are just human, that are about people. People need that, too. It's like we need to reconnect to what it is to be human. Not just what our political situation is. That's not what I'm thinking about exclusively. Human content is needed again, as it was in the '70s. I think films were more human than they've been since then.

By the time I was 14, I had seen only three Tamil films - 'Anjali,' 'Bombay,' and 'Puthiya Mugam.' And I loved the music in the films. When I found out Rahman sir was the man behind the music, I made up my mind that I wanted to sing for him.

I was excited that my films would finally see the light of day and people would see them. But I never imagined that such nice things would be said about a lot of my films.

I think bad movies are made around the world, not just in Hollywood. There are as many bad art films in the whole world as there are bad commercial films.

Films with predominantly white casts can come in any form, tell any story, big or small. For black films, you have the light, fluffy rom-coms or 'Madea' movies, and then you have the black-torture awards movie.

Silent films were, I think, more different than we know to sound films. We think of it as simply that we added dialogue and in actual fact I think it was an entirely different art form.

I want to see someone like Bobby 'The Brain' jumping around in his weasel suit with the rhinestones. Guys who are animated like that make the best translation to TV and to videogames.

Like, every couple of months you read, they rewrite, you come back in, they've animated more stuff - they usually videotape you while you're reading it - so they'll incorporate some gestures and some facial expressions into it.

My imagination was really hyperactive as a child and animated. I had those elements, but as you live and go through the hardships, it fades. 'Pete's Dragon' reawakened that. It rekindled the feeling of the invisible dragon.

Bollywod films run on the shoulders of its lead actors. The audience goes to watch the actors and talks about the story later. On the contrary, Punjabi films are now running on the shoulders of their stories and content, which is an achievement.

Certain people like the way I make films, and others do not. I've come to terms with the fact that there's no other way I can make films. If I tried to do it in a different way, it would never work.

All the time that I'm acting with an animated character, I'm looking at a tennis ball or sticky tape or an eyeline or a man in a green suit. There's no real environment, just this electric green that's blaring into your brain.

I've seen films that have made as much as $100, $200 million, but they're not films. They're images. They're flashes. They're many beautiful images, lots of things to look at. They capture you. But it's not a film. It's not something that involves you in a story. They go to cinema now to be blown away by the effects.

What sort of philosophy one chooses depends, therefore, on what sort of man one is; for a philosophical system is not a dead piece of furniture that we can reject or accept as we wish; it is rather a thing animated by the soul of the person who holds it.

When you stop to think about it, so many films today where we don't have that kind of contact are films about alienation. About alienated feelings. We are much more alienated from our colleagues nowadays.

I'd love to play Moon Knight. I don't know if anybody's doing a Moon Knight animated series any time soon.

There are three movies that I am exceptionally proud of in my life, and I rarely commit to a list of films that I like, that I've made... but these are the three films that I was passionately connected to. The first was 'ET,' the second 'Schindler's List,' and third is 'Saving Private Ryan.'

One of my assistants was on Instagram and showed me how it was working. I thought it was playful, the way you go through images, a little like cinema. It's a bit like a filmstrip that's animated by your finger.

I really think that I don't mind people sleeping during my films, because I know that some very good films might prepare you for sleeping or falling asleep or snoozing. It's not to be taken badly at all. This is something I really mean.

When someone talks about Western films, you probably think of those old black and white cowboy films your granddad likes. But the Western is a wonderful genre because it is usually a story of a lone hero fighting against corruption in a dangerous world.

Maybe everyone lives forever. Or maybe, like in the animated movie 'Coco,' only those whose stories get told by the living definitely do. It takes a story worth telling.

In 'The Smurfs,' I was actually a live action character. So, I was a real person in that movie. But I was working with animated characters, which is very strange because they're off recording their work, and we're kind of reacting to nothing when we're doing the film.

I always wanted to play a boxer because some of my favorite films, as a boy, were those great boxing movies, like 'Raging Bull', 'Rocky', 'The Set Up', 'Fat City and Hard Times'. I just loved those films.