Top 1200 Budget Film Quotes & Sayings - Page 14

When art in general, and film in particular, succeeds is when it pulls you away onto a voyage. Then it's a good film.

I got into film school thinking I was going to make features, like every other film geek.

Each film has its own fate, and you can't go through personal emotions based on the highs and lows of a film.

Some people have told me they remember the film that one of my images is derived from, but in fact I had no film in mind at all.

For the regional film industry, it's a great feeling that a Dev film is being seen as a competition to a Salman movie.

In a film, there are too many characters. If the film is not a hit, then nobody really notices your work.

The life of a film is very strange. Once the film is done, you wish you could forget about it and move on.

Because a composer's soul goes into a film, they should do the entire film, even the background score. If not, then don't do it.

I made a French film called "Merry Christmas" which is a very European film. It's a World War I piece.

I did a few documentaries as co-director and cameraman. I started off shooting a film about the war in Rhodesia. Then I did a film about an 'around the world' yacht race with a friend, and we spent nine months on a yacht. The film was about how people get on in confined spaces under extreme stress.

When I take up a film, I always think of the effect it will have on my children when they see the film years later.

Film was something I didn't really think about when I was young, because if you looked like me, you weren't a film star.

If it's a good work of adaptation, the book should remain a book and the film should remain a film, and you should not necessarily read the book to see the film. If you do need that, then that means that it's a failure. That is what I think.

When you make a documentary film, after many years the only thing you remember is what you put into the film, not what you took out.

What challenges me is this - I want to walk out of a film with the experience of having done a film, not with a feeling that I have sleepwalked through it.

I have been working on one film at a time. One film recovers a little cost and that helps me move on to the next one.

Up until then, whenever anyone had mentioned the possibility of making a film adaptation, my answer had always been, ‘No, I’m not interested.’ I believe that each reader creates his own film inside his head, gives faces to the characters, constructs every scene, hears the voices, smells the smells. And that is why, whenever a reader goes to see a film based on a novel that he likes, he leaves feeling disappointed, saying: ‘the book is so much better than the film.

I think that film festivals, we're very often given to understand, are about filmmakers and about films and about the industry of filmmaking. I don't believe that they are, I believe that film festivals are about film audiences, and about giving an audience the encouragement to feel really empowered and to stretch the elastic of their taste.

You don't set out making a film that will rake in 100 crores; you just want to make a good film.

I'm still not ready to come back and 'And Once Again' is just a one-off film that I'm doing. It's not my comeback film.

I think it remains a film-by-film process, and since I am relatively selective and slow, it can take a while.

I've never been to film school. I had to leave this country to make a film. All they would let me do in Hollywood was be a messenger.

When you are acting in a film, you are only worried about your performance and how the film will shape up.

Being horrible in a big film is a quicker nosedive than doing an obscure film and making no money.

After my first film, I was having trouble finding a second film. I had a lot of attempts that failed.

A film like 'Good Night And Good Luck,' you make that for $7 million because you know it's a black-and-white film, and it's not an easy sell. If you make it for $7 million, then everybody can have a chance to make a little bit of money, and you get to make the film you want to make.

'The Missing Picture' is about my story and my parents. Before this film, I never said 'I' in a film, so it is very personal.

Once the censorship board clears a film, there should not be any other obstacle for a film's theatrical run.

A gem of a short film has a sense of pure joy in animation that is different from anything you see in a feature film.

The basic idea of making this film was that even if one person is touched by the thought in the film, then my job as a storyteller is done.

The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.

Now because the film industry is what it is, if people are expecting a certain film genre and they're not getting it, there are howls of outrage.

The Limits Of Control is not surrealism, but it is an experiment in which expectations are deliberately removed: expectations for narrative form, for action in a film, for certain emotional content. We wanted to remove those things and see if we could still make a film that was a beautiful film experience, with deliberately removing things many people would expect.

If you need to get in physical shape for a film and you have to maintain that for six months, at the start of the film, I was never able to do it.

I'm really into acquiring film paraphernalia - that's my hobby. I love old movie posters, cameras and film reels.

Every time you make a film, you want to do it in a genre that is different from your previous film, so that there is something fresh about it.

I think the idea was to make a horror film that became a science-fiction film with a lot of melodramatic tropes.

I have always believed that if a film has only two characters, but they do not make any sense, then the film's meaningless.

For me it sounds weird saying that the filmmakers respect the film. I don't imagine that there's other ways to make a film, but unfortunately there is.

I'm not sure if I want to direct a film, but certainly, as an actress, I'm always thinking, 'Surely this must be my last film.'

My brother knows more about film sets than I do, because he works at New York Film Academy.

When you do a film, all you want is to make the best film possible. You don't think about Oscars. But it's really flattering. Please, bring it on!

I'm not really premeditative in any way at all. I come up with an idea, hopefully for a film, and then I'm lucky enough to do the film.

There's two aspects of film crafting that I'm very strict about, and that's how I move my camera and where I cut the film.

I'd rather have a small part in a big film or good story than do a solo film just for the sake of it.

Regardless of what film you make, you want people to watch your film, and you ultimately need commercial success.

I long to make films. I'm dying to be inside the next film. I always hope there will be another film.

Basically, actors arrive in a bubble. They have a little sealed bubble around them and it's basically [comprised of] their agents, their last film, their next film, their press agent, and their per diems - all these things, they cocoon themselves with and you have to puncture that bubble on each of them to make them be in your film.

In Iranian cinema, all the lying takes place before making the film. In order to be able to make the film, you have to lie.

If you go to see a film with a woman you love, then even if the film is bad, you can hold hands and laugh at it.

I was never serious about Bollywood films, but when I was offered a film like 'Shanghai,' I took it because it is a good film.

Look, I'm just a storyteller. When I make a film, I never want the film to become a vehicle of social propaganda.

To think of a film from the point of view of a tank barrel is already so inhumanly positioned. This is when film can reveal itself scandalously.

My partners are Gourov Dasgupta and Roshan Balu. Together, we're 'Superbia'. I've already signed some film and non-film assignments.

A film is a great deal about what you see, and the silhouette of a character tells you a lot. I'd love to go into film costume.

...balance the budget ? Tax religion.

How can you work in film and still see the overt racism that exists in film and not just be furious all the time?

I have always thought if you are going to make a film, it's much better to have an original script that will play to film's strengths.

In an action film, you think of things that are almost impossible to do and yet you have to manage to show them as being possible on film.

I think your behavior is different when you work on digital or film. It seems that... I feel most focused if I'm working on film.