Top 1200 Best Film Quotes & Sayings - Page 2

I did a dance sequence in my second short film, which was my best short film, called 'Hairway to the Stars,' and I think Chris Wink, the founder of Blue Man Group, was in that. It's a black-and-white dance sequence. We were Glorious Food waiters together.

Being on a film set, you are always around such fantastic people. And I feel like I've been lucky. I feel like I've worked with the best of the best.

For me the best kind of film music is liturgical music. Liturgical music is essentially a million scores for the same film.

'Gandhi' was a well-made film but surely not my best. It had flaws, which I understand two-and-a-half decades after I directed it. I will never call it a propaganda film for the Indian Congress, but it could have been made better had I concentrated on certain minute details.

Well, as far as film, either you're making a film or you're making videos. Digital capture is always trying to emulate the range and look of film. I believe personally that film has more.

I did short film with Damian Lewis from Homeland, that was a really incredible experience. He's one of the best actors I've ever worked with. Even though that's a short film for Jaguar that's really, in essence, a commercial, it didn't feel like it, at all.

You have to start with the notion that you pick the actor who's going to embody the role, the best person that you can find. If you don't start with that then it sort of defies the whole purpose of trying to make the best film that you can make.

Orson Welles, one of the best of the best. One of the strongest. As strong as an animal. He somehow was pushed out of the business because he would spend the entire budget of the film before he had even done half the pre-production.

The biggest misconception about me is perhaps that I film all the time and film everything randomly. The truth is I film very little and always when something excites me and seems to mean something for the film.

I'm very troubled when editors oblige their film critics to read the novel before they see the film. Reading the book right before you see the film will almost certainly ruin the film for you.

I didn't start out my directorial career with a dance film, as I knew people thought a choreographer will easily make a dance film. And even with a non-dance film, I had delivered a successful film.

As filmmakers, we want the audience to have the most complete experience they can. For example, I interviewed Stanley Kubrick years ago around the time of '2001: A Space Odyssey.' I was going to see the film that night in London, and he insisted I sit in one of four seats in the theater for the best view or not watch the film.

With The Exorcist we said what we wanted to say. Neither one of us view it as a horror film. We view it as a film about the mysteries of faith. It's easier for people to call it a horror film. Or a great horror film. Or the greatest horror film ever made. Whenever I see that, I feel a great distance from it.

I always go back to who I am as a player, and what got me into the league. It wasn't by demanding the ball or anything. It was about doing what's best for the team, doing my job the best I can, showing up on film and making the plays when they come my way during games. That's what I focus on every single week.

Silence Of The Lambs? is a ?fantastic? film. It's a horror film, and it's an incredibly well-told film that is about point of view in such a unique way. The way that film is shot, the way the eyelines are so close, if not directly into camera, betrays an intimacy with the characters and the audience.

The thing about film is that your eye is selective. Film isn't. You have to make film do what you want. Simply photographing something doesn't do it. You have to know how to apply light and know what it does on film.

To me, a revolutionary film is not a film about a revolution. It has a lot more to do with the art form. It's a film that is revolting against the old established language of cinema that had been brainwashing the people for decades. It is a film that is trying to find ways to use sound and image differently.

There is something that might be called cinematic beauty. It can only be expressed in a film, and it must be present for that film to be a moving work. When it is very well expressed, one experiences a particularly deep emotion while watching that film. I believe that it is this quality that draws people to come and see a film, and that it is the hope of attaining this quality that inspires the filmmaker to make his film in the first place.

Personally speaking there's only so long you can go from film to film to film. There's an inspiration an actor gets from the stage.

I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.

Patrick Peterson, obviously, is one of - it depends who you talk to - is the best, or one of the best, corners/return guys in the NFL. You just turn the film on and you're like, 'Wow, that guy plays corner? He looks like a linebacker and runs a 4.1' or whatever. He's a great player.

Film is so much to do with perfection and how differently you can feel about someone at the beginning of the film and the end of the film.

I worked as hard to write the worst film of the year as I did to write the best film of the year.

I've never watched my films with an everyday audience so it was really crazy to watch people clap at the end of my film - with no one there, no actors, no people from the film. It was just a spontaneous reaction, so I thought that was probably the best compliment you could get from an audience.

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.

I've been making films since the '70s and trying to develop that best possible fiction-film style that I feel is the most expressive. At a certain point, I felt I was winding up making the same film stylistically and I found that boring.

I mean Filth is the best British film since Trainspotting. It might even be better. I keep watching it back to back with Trainspotting to try and work out which is the best. I can't split them.

I think its pretty clear that film is the pre-eminent art form of our age. If Michaelangelo or Leonardo Da Vinci were alive today they’d be making Avatar, not painting a chapel. Film is incredibly democratic and accessible, it’s probably the best option if you actually want to change the world, not just re-decorate it.

I felt, "Oh, film is a great art because I can pull in music and visual imagery, and it has its literary aspects and drama." Film was a sort of Wagnerian synthesis of the arts, as opposed to opera, which Wagner had thought would be. That's another art form that has seen its best days.

A film is one small voice among other large ones. The film is a tiny part of the discourse. You do what you can but under no illusions of what a film can do.

Sony could have $50 million and a sound stage and A-list actors and never make the same film. The constraints on this film became the essence of this film, became the power of this film.

The reason it takes me so long to make a film, the reason it gets so difficult, is that I'm trying to think of every film as the last one I will ever make so it can be the best it can possibly be. I don't want to have regrets or excuses or think, 'I can do better next time.'

Talent has no gender. People are hiring young male directors right out of film school, off of a student film or off of a film at Sundance for millions of dollars. You can do the same with a female. It's not a risk about the work if you respect the film that they made.

I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film.

I think to many people the term 'activist film' implies a film with a single point of view - something designed to provoke outrage and urge action on a particular issue - sort of the film equivalent of a rally. 'If a Tree Falls' is not that kind of film.

I am an actress. My first film was a Telugu film, my second film was Bollywood, and third was Indo-Chinese.

At the core, I am an actress. And I think, in a way, that's a good thing in that I am, I think, empathetic and sympathetic to the film. I would never pretend to have the discerning and acute critical eye that a lot of the great critics in our business do have. I don't look at it as being a critic or placing a judgment on a film, and I do think, how do you decide which film is best anyway? It's always a little bit of a mixed bag. But, I think it is just a collective group of people coming together to honor the work of an artist - that's how I think of it.

I always believed in if you give your best, people will see it, and it moves to the next level. I got my first movie, and I gave it my best. Before I was done with that movie, I was offered my first feature film.

With the right movie, 3D can enhance the experience. Absolutely, it can make a good film a great film. It can make a great film a really amazing film to see .

Film noir is not a genre. It is not defined, as are the western and gangster genres, by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood. It is a film 'noir', as opposed to the possible variants of film gray or film off-white.

"Bruce" was an Eddie Murphy film, so there was a whole different vibe, working on that film, as opposed to working on a [Adam] Sandler film, which I'd done a few of. First of all, there were tons of kids running around. I'm surprised I ever had a kid after doing that film.

Whenever the protagonist of the film becomes bigger than the hero of the film, the film is bound to become a hit.

I'll tell you, in making film, especially when you're an actress, you're always worried about how you look on film, how they light you, always working with your camera people to be at your best, with the expectations of our culture that you always look perfect and beautiful and whatever.

When I started acting, my mom said, "If you want to go to film school and eventually direct, being on set is probably the best film school in the world." I'm incredibly grateful for the career I've had, but I was an actor to be a part of movies and TV, not the other way around.

Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.

Looking back now, if I went to film school, it probably would have helped knowing what the best of the best of foreign films were, but that wasn't the case. In some ways, I think that led to my originality, because I hadn't seen anybody else.

A lot of my best friends are the best person for the job in a film, but sometimes being a filmmaker I'll give a buddy a chance to prove himself. Other times I want to go with a tried-and-true person. It can absolutely cause problems.

The best education in film is to make one

I was 21 and I got to film with my best friend.

I have no issues if audiences don't like a film or a performance, and the film doesn't do well. My problem is when they say that the film was good and performances were excellent, but the film didn't run. I have a problem when that happens.

I am the best film director in the world.

African films should be thought of as offering as many different points of view as the film of any other different continent. Nobody would say that French film is all European film, or Italian film is all European film. And in the same way that those places have different filmmakers that speak to different issues, all the countries in Africa have that too.

My last experience of film-making was Tickets, a three-episode film in Italy, the third of which is directed by myself. It's not for me to judge whether it's a good film or a bad film, but what I could say is that nobody had a cultural or linguistic issue with what was produced.

I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film

I find that male directors are more interested in what the film looks like as opposed to what the film is about emotionally. My job is not to make the film look pretty, and I don't feel drawn to making myself look pretty within the film.

I don't know if there's ever been a female-driven film or a male-driven film. I don't believe in that. I believe a film is a film - a movie can only work if everything about the film works.

We were dealing with films that had very prominent roles for women and I felt I was actually contributing something. Many people had wondered why I would want to do a film where the best part was a woman's part. But I wasn't afraid to be the lesser intelligence in a film.

I did New York, I Love You which is a very personal film for me. My most personal film, but it's not like a film I've ever made. I would never do that film as a feature, for instance, because it's not very commercial of an idea.

You don't really know how your film is going to turn out, but you can give it your best shot and hope the audience loves it. This has been my approach right from the beginning, and it's helped me a lot in my journey. All you can do is give the film your everything.

I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.