Top 1200 Art Films Quotes & Sayings - Page 2

I had just finished reading The Day of the Locust when this piece was brought to my attention, and I was like, "How do you create art in the system, the way it is?" Looking around the studio film landscape, there are all of these great superhero movies, which is fantastic, especially for my kids, but it's hard to find real art house films in the studio system, these days.

I was an art house guy, making little, not-much-happening films.

We can use films and art to express what is happening around all of us.

I like films and I have been watching films from a young age. So, making films happened to be a natural progression.

In India, we always look at feature films as a progression over short films. But, abroad, people make a living making short films. The revenue might not be as much as in feature films, but the return on investment is good.

Some of these things I saw in foreign films - African films, Cuban films - long before I decided to really go on this course as an actor. I started to think about what values I saw in those films that I wanted to bring to my projects.

I want to make films that are political and social. Films with a message or an idea. Films that dare to ask.

I see a lot of art; we see a lot of music, films at Sundance... that influences me and informs me more than theater just because I make a bigger effort to see other art forms.

Actually, I can't stand watching violent scenes in films; I avoid watching horror films. I don't tend to watch action films mainly because I find them boring, but I watch the films of David Cronenberg and Martin Scorsese, usually in a state close to having a heart attack. I'm a complete coward. I make violent films as a result of my sensitivity to violence - in other words, my fear of violence.

If we make films only for the frontbenchers, we can't make money. Hence, we have to make it for a majority audience. As my films are mass films, I deal with emotions in raw form - they are not subtle. I don't mind being branded. That does not mean I like only those kinds of films.

I wouldn't say films are a natural process after modelling. Films are more complex. There is not much connection between ramp shows and films.

Andy was a nonverbal person; you couldn't get directions out of him. All he knew was what was modern in art was what wasn't art: The telephone was art, the pizza was art, but what was hanging on walls in museums wasn't art.

One of my favorite films is 'Late Spring' by Yasujiro Ozu. To me, it represents film as art.

You've got these big studio films and these tiny independent films now. It's very much either/or. With the independent films, it's always a beautiful risk - it might never be seen. With the studio films, you're conforming to the formula of what's always been in place.

Art is difficult. It's not entertainment. There are only a few people who can say something about art - it's very restricted. When I see a new artist I give myself a lot of time to reflect and decide whether it's art or not. Buying art is not understanding art.

I've been able to make some wonderful films, but sometimes you make films with great passion - great belief - and these films slightly don't work at the box office, and they become your favorite films.

We know of instances of stage plays being made into films. But I really think that all Tamil films can be staged; I'd like to take up K. Balachander's films and do that.

Yes, a lot of European cinema and a lot of independent films and art-house stuff. She is a photographer. She is a visual artist and photographer and my dad is, too. My mum, I must credit for showing me good films. With my career, my parents were great and though they were a little wary, maybe, of the acting ambitions they have always been supportive.

I always question if somebody else is going to love my films. I think that's what art is about - it's so individual.

I am extremely proud of the fact that I have acted in art films.

I do not think that my films or films by any other filmmaker represent "THE TRUTH." I do not feel the need to categorize my films or anyone else's.

What makes art Christian art? Is it simply Christian artists painting biblical subjects like Jeremiah? Or, by attaching a halo, does that suddenly make something Christian art? Must the artist’s subject be religious to be Christian? I don’t think so. There is a certain sense in which art is its own justification. If art is good art, if it is true art, if it is beautiful art, then it is bearing witness to the Author of the good, the true, and the beautiful

It is the transcendent (or 'abstract' or 'self-contained') nature of music that the new so called concretism--Pop Art, eighteen-hour slices-of-reality films, musique concrete--opposes. But instead of bringing art and reality closer together, the new movement merely thins out the distinction.

A lot of people just go to movies that feed into their preexisting and not so noble needs and desires: They just go to action pictures, and things like that. But if you go to foreign films, if you go to documentaries, if you go to independent films, if you go to good films, you will become a better person because you will understand human nature better. Movies record human nature in a better way than any other art form, that's for sure.

You know, the art films would usually be more, I mean the exploitation movies would usually be more lurid, but not that much more. I mean, actually back in those days that was what foreign films had. They had sex, they were selling Laura Antonelli.

Free time keeps me going. It's just something that's always been a part of my life. I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.

I like independent films... European films. I do go and see popular films as well because my kids force me.

We were film geeks. We devoured everything: really obscure art films, foreign films. We were the kind of guys that lived at the Cinematheque. But at the end of the day, your favorite movies are like everybody else's favorite movies. Because those are the movies that become a touch point where you can connect to other people.

In the dear dead days beyond recall, when I was in my prime as a film critic, the industry was booming. Hollywood, to give them their due, always called it the industry, through quite a few imagined it as an art form and went through several hours regularly at tiresome films in the sacred cause of art.

My favorite books, art pieces, films, and music, always have something jarring about them.

Art is nothing tangible. We cannot call a painting 'art' as the words 'artifact' and 'artificial' imply. The thing made is a work of art made by art, but not itself art. The art remains in the artist and is the knowledge by which things are made.

I think in art, but especially in films, people are trying to confirm their own existences.

I want to do comedy films, serious films - I admire the actors who fly under the radar but get loads done, pop up in a lot of good films.

The films that have influenced me and the films that have motivated me and inspired me were films that resonated, films that made me think after I saw them.

It's disappointing to see films become pure entertainment, so that it's not an art form.

American films, it's a money-making industry. And in France, you can find great respect for cinema as art.

Films are an art form which are sold after packaging in this commercial world

Art should not be bound by barriers or language. The Hindi film industry is a testament to that. We speak only Hindi, but we premiere in Germany and Japan. Our films do phenomenally well there. We transcend the barriers of language and culture. We welcome you in. I think that's what art should be, and I hope America reaches that place.

After 20 years and 250 mainstream films, I thought I should have in my library at least 50 films, films that will be talked about when I am no more.

I don't label films or actors, and labelling means setting boundaries. Why do you want to do that to art?

I've always liked the idea of merging esoteric art cinema with down-and-dirty exploitation films.

There is no such thing as abstract art, or else all art is abstract, which amounts to the same thing. Abstract art no more exists than does curved art yellow art or green art.

I got exposed to art-house cinema and foreign films. I was from L.A., so it was a film culture that I didn't know about.

Some of these things I saw in foreign films - African films, Cuban films - long before I decided to really go on this course as an actor. I started to think about what values I saw in those films that I wanted to bring to my projects

Realistic, naturalistic art had dissembled the medium, using art to conceal art; Modernism used art to call attention to art.

Graphic design is a popular art and a practical art, an applied art and an ancient art. Simply put, it is the art of visualizing ideas.

We are committed to making content driven films of all kinds and are proud to be jointly producing films with LUV Films.

I think where the criticism of videogames come from is where videogames are just Xeroxes of films, and when you get a film adaptation of that game, you've just Xeroxed something twice. I think that's where a lot of the criticism comes from - there are ultra-violent games that are already based on a million films. But there's definitely beauty and art and design in games. I don't think anybody could deny that.

One filmmaker makes films that are deep, intellectual, profound and confrontational. And the other one makes purely vacuous, escapist films. I'm not sure the one who makes escapist films is making a poorer contribution than the one who makes the deeper films.

There were a lot of people dreaming about making films, and they would finance maybe 6 films a year. Because they were funded by the government, the films sort-of had to deal with serious social issues - and, as a result, nobody went to see those films.

The single difference between films for children and films for adults is that in films for children, there is always the option to start again, to create a new beginning. In films for adults, there are no ways to change things. What happened, happened.

One of my favorite films is LATE SPRING by Yasujiro Ozu. To me, it represents film as art.

I made French films and other films and a lot of Arabic films, but what I like is English for myself.

I'm not a purist - I like films that are narrated and films that aren't, films that are beautiful and films that are clumsy but heartfelt. Mostly, I just like a good story and good characters.

There is in fact no such thing as art for art's sake, art that stands above classes, art that is detached from or independent of politics. Proletarian literature and art are part of the whole proletarian revolutionary cause.

Language is so specific to art, all the way to the past in China. Previously, people were not allowed to include various regional dialects in their films, but in every film that I've made, I've maintained the regional dialects of the characters because I wanted to make films that were locally specific.

All art cinema is not great; some of the films can put you to sleep.

I'm interested in seeing films that confront me with new things, with films that make me question myself, with films that help me to reflect on subjects that I hadn't thought about before, films that help me progress and advance.

Has it led you to the conclusion that photography is an art ? Or it is simply a means of recording ? "I'm glad you asked that. I've been wanting to say this for years. Is cooking an art ? Is talking an art ? Is even painting an art ? It is artfulness that makes art, not the medium itself. Of course photography is an art - when it is in the hands of artists."

Fine art, that exists for itself alone, is art in a final state of impotence. If nobody, including the artist, acknowledges art as a means of knowing the world, then art is relegated to a kind of rumpus room of the mind and the irresponsibility of the artist and the irrelevance of art to actual living becomes part and parcel of the practice of art.