Top 1200 Best Film Quotes & Sayings - Page 20

It's always been something like that growing up, knowing I wanted to be the best. And my brother considers himself the best, I consider myself the best.

All my films I have shot in chronological order - always. And the reason is that there's a moment that the screenplay is the notion of the film. But when you start doing a film... the work itself starts being transformed, and you have to surrender.

Independent film is such a huge deal in the UK. There aren't many big budget studio movies that get greenlit at all. The indie film industy is a great opportunity that I'm trying to seize.

The key relationship for writers in film is producers, because those are the first two people involved and the ones who work on it intensely in a private way without the big machinery of film.

My grandma was really sick when I was working on 'Sin Nombre' and eventually died that summer when we were finishing the film. But I was able to bring an unfinished version of the film for her to watch.

I'll probably always write film scores. It's the one place where a composer has almost unlimited resources at his beck and call. When music you have written works well in a film, nothing can beat it.

The normal storyline of a horror film or a slasher film is the young, beautiful college folks go camping and get systematically killed by the person in a mask. So that's how it normally is.

My sense is that you can make a film under almost any circumstances. As long as someone has a vague idea of what he's doing, something distinctive will emerge. That, to me, is what film making is all about.

For me, the movie's always evolving as I'm doing it. I throw things in as we shoot, and I take things out as we go. I want to create a whole life and then select the pieces that best sort of describe it later, you know? So there's a lot of wastage when I make a film.

I'm from New York, and yet I've done only one film executive-produced by Spike Lee and have never done a film that Spike Lee directed. I've never done a film that Keenan Wayans has directed, or Bill Duke.

I think tax breaks for diversity is a good thing. In film now, what happens is you get huge tax breaks if you can prove via your hiring practices and via casting, that the film is British, you get a tax break. Wouldn't it be great if you got a tax break because the film was properly diverse?

I want to do more independent film. I'm blessed to be working on really quality episodic television, which to me actually feels like a sort of 13-hour film.

This film [ Blue is the Warmest Color] actually is the result of me talking with my producer Vincent [Maraval]. I gave him a bunch of ideas and then Vincent helped guide me and develop this particular film. I enjoy that rapport to have somebody else help guide me in my choices for the next film. The poetic way of looking at it is which project is going to choose me as a director.

Nowadays, if a studio assumes that his film is bad, there is always an executive that gets more nervous than usual and thinks that if they change the music, the film will become a masterpiece.

I come from the best era of film I believe; when people were taking chances on films. It's time for us to bring more truth to the story and not necessarily carry a torch for every Black person in America; just tell a story, and a good one too.

'Band Vaaje' is all-in-all a comedy film. But all comic scenes are situational. The jokes are not just for the sake of punches. The film has proper story which we are sure that audiences will love.

He's the best of us. The best of our best, the best that each of us will ever build or ever love. So pray for this Guardian of our growth and choose him well, for if he be not truly blessed, then our designs are surely frivolous and our future but a tragic waste of hope. Bless our best and adore for he doth bear our measure to the Cosmos.

The best verse hasn't been rhymed yet, The best house hasn't been planned, The highest peak hasn't been climbed yet, The mightiest rivers aren't spanned; Don't worry and fret, faint-hearted, The chances have just begun For the best jobs haven't been started, The best work hasn't been done.

When I write a film, the film gets handed off to a producer and a director and I go my merry way. With television, I am expected and contracted to stick around and actually produce what I've written.

You see the film, you might be entertained, and if it's not a great film, it loses its power very quickly. I think even simply acceptable books stay with us a lot longer.

I would like Albert Brooks to have received the Oscars for best actor, best director and best screenplay for 'Modern Romance.' I love that movie.

I am still very surprised that I managed to make that film [Close Up]. When I actually look back on that film, I really feel that I was not the director but instead just a member of the audience.

Filmmaking involves a lot of passion, hard work, thought process and money. But 'Gandhi My Father' is a selfless film, a film made with complete selflessness. We all went beyond ourselves.

I've done really well so far in my career by trusting the audience to be as dissatisfied with convention as I am, as a film-goer. You want to go see a film that surprises you in some way.

I was obsessed with Batman as a kid. I did the film in part just to be near the Batmobile. But I also think [director] Christopher Nolan made a very fine, intelligent film.

You have very accurately described the difficulty of presenting my books on film: many of my characters are alone most of the time, and when they do talk, what they say is mostly lies. That can make for a pretty confusing film.

The best government in the world, the best religion, the best traditions of any people, depend upon the good or evil of the men and women who administer them.

When I work on films, I like to be involved from as early as possible. I think this is really good and beneficial in terms of absorbing the atmosphere of the film and for the music to become a part of the DNA of the film.

Once I am done with the film, I don't worry about how many centres the film has released, what are the BO records, etc. As I have no knowledge of such things, feeling the pressure doesn't arise.

I'm just one of those people that if I sit down to watch a horror film, I put my hands over my face and I cry a lot and I don't see half of the film because I'm too upset.

For the film 'Saat Khoon Maaf,' which was adapted from my story 'Susanna's Seven Husbands,' I did collaborate on the screenplay. I even took a small role in the film, of a priest.

It's true I was approached for 'Heroine' but I couldn't do the film as the dates were clashing with Kamaleswar Mukherjee's film 'Meghe Dhaka Tara' based on the life of Ritwik Ghatak, where I played the lead.

I was playing in a band and was approached to score an independent film. I had never done it, but had written instrumental music, so I figured I could do it. Turns out I loved scoring the film, and took on another couple films before realizing that if I was to be an effective narrative composer, I should study the craft of composition. I stopped taking projects and got a degree in orchestral music composition, and followed that with film scoring studies. Near the end of my degree studies, I started taking on student films as a way to get back into film scoring.

I'm dying to do a masala Bollywood film with typical song and dance. But having said that, my character in the film should have her own point of view. I won't play a role who has no brains.

'Haraamkhor' is a low budget film. We are not worried about the box office because our film is already in profit. It's got a strong content that will reach people's heart.

When we started Angels & Airwaves, we wanted to produce our art on different mediums, but the film was an ambitious one because we actually didn't go into it thinking we could make a big feature film.

Sheriff Joe Arpaio, a great guy.He endorsed me because I'm the best in immigration. And I think by his definition of the best, it's the best and the toughest.

Even for the most difficult scenes, and there are difficult scenes in the film, and because Michael Haneke is such a great film-maker - I think a great film-maker is not only being inspired, but how to do it, how to make it as real as possible, knowing that it's not real.

When I make a film, I never stop uncovering mysteries, making discoveries. When I'm writing, filming, editing, even doing promotional work, I discover new things about the film, about myself, and about others. That is what I'm subconsciously looking for when shooting a film: to glimpse the enigmas of life, even if I don't resolve them, but at least to uncover them. Cinema is curiosity in the most intense meaning of the word.

I'm planning some films in the U.K., and it will have pros and cons. It takes a lot more time to set up a film in the U.K., because you can't rely on much. In Greece, friends show up and bring what they can and you make the film. Well, that's a bit simpler than how it really is. But when you make a film with proper industries, it takes more time to synch all these things.

I thought 'Deliverance' was a very good film. But it didn't have the success financially that 'Smokey and the Bandit' did, although that film made more money than 'Star Wars' in the first week.

I believe that independent film making is the last frontier of creative expression available. So I'm always willing to lend a helping hand to a young film maker who's just getting into the business.

I'm excited about how books work in a digital age. When you read a book, unlike a film, you are decoding symbols in order to 'see' the story, so it is collaborative in a way that a film can never be.

For me, filmmaking combines everything. That's the reason I've made cinema my life's work. In films, painting and literature, theatre and music come together. But a film is still a film.

When I started acting, there were parts in English that I thought I just had to try it out and go to another country. I did a film in Ireland. It was my first film abroad.

A film is a film and it has to be good to be inspired. That's number one. It can be Italian, French, German, American. It's moving images in front of you and with a strong director who injects his point of view and artistry.

I have equal parts film and digital cameras in my collection. I think that there are ways to Photoshop photos so that they look like you shot them on film, but is that as rewarding? It just depends on the person.

'Black film,' that term allows studios to just marginalize a movie and say, 'We've made our black film. We've made our film with people of color in it,' as opposed to, 'I just feel like people of color should be in every genre.'

Every scene in 'Ganga Jamuna' has been spellbinding for me. I can see the film any number of times and still not be able to pinpoint a scene and say 'This is the best scene!' Every scene is perfect.

I don't think that my work appeals that much to the hard-core, avant-garde film audience. They appeal to people who teach film and those establishment figures on the East Coast.

Sometimes on a film you just become taken with the fact that, all right this is as rough as it gets, but I'm going to support my general and I'm going to do the very best I can for him because he's a good general and I like him.

I conceive of the film as a modern art form particularly interesting to the sense of sight. Painting has its own peculiar problems and specific sensations, and so has the film. But there are also problems in which the dividing line is obliterated, or where the two infringe upon each other. More especially, the cinema can fulfill certain promises made by the ancient arts, in the realization of which painting and film become close neighbors and work together.

It's very rare to get a film script that has good dialogue. A lot of the time, you spend on film sets really fighting to find out how to say the words.

But you can still find good films if you read your local film critics and are willing to drive a bit. You have to be a proactive film viewer to have the most provocative cinema life.

I'll need every ounce that I have to drive it through. Film and TV require that energy. Sometimes fight scenes can be pretty intense. When I was shooting 'Heaven' it was truly guerrilla film-making.

I think the situation in Toronto is such that there are funding organizations which make it easy for a film to raise more money than it needs and very often that works against a film.

I think film and television actually is a lot harder. Acting onstage is physically more arduous, but to get to emotional truth within a scene, it's much tougher to do it on film.

Even in 'The Red Shoes,' a film that nobody ever has complaints about, there are enormous continuity bumps, and it doesn't matter. You know why? Because you're being carried along by the power of the film.

My protest against digital has been me saying, "What's going to happen to film?" The result is that Kodak is out of business. That's a national tragedy. We've got to keep making film.

The best angles and the best stories always hinge on reality. Throughout the history of WWE, all the best storylines have a little touch of what's real behind them.