Top 1200 Budget Film Quotes & Sayings - Page 18

The first film that I saw of Shammi Kapoor was 'Bhramachari.' I instantly fell in love with the film and connected with Shammiji. His style was natural and unique.

American film isn't just film and glamor and fame and the lives of people who are fortunate financially. Those aren't the only stories in this vast nation. That's my mandate.

In film, movies schedules are based on three things: actors availabilities, when are sets being built, when you can rent the place youre going to film in.

Film is a director's medium, and a film set is a complicated military structure - I have to keep reminding myself to stay in my place, or all will burst into chaos.

I didn't go to film school. I was never an assistant or trainee on a film. I had not seen all those cameras. So I think it gave me a lot of freedom.

There is a scene in one comic from the '60s-'70s where Batman finds a film, a newsreel film, of his father. This newsreel film is from the '50s, and his father has come to this costume ball in a Zorro costume, which strangely enough looks a lot like a Batman suit in the footage.

If a film promotes communal harmony, which for me is beyond religion, I am happy to work on it because the film's premise is in line with my beliefs.

This is indeed not only relevant to Documentary but is evident is most type of film making. The film often mirrors the experience, understanding and politics of the director.

The Pentagon budget, like all government spending, is an expression of priorities.

In this land of unlimited opportunity, a place where, to paraphrase Woody Allen, any man or woman can realize greatness as a patient or as a doctor, we have only one commercial American filmmaker who consistently speaks with his own voice. That is Woody Allen, gag writer, musician, humorist, philosopher, playwright, stand-up comic, film star, film writer and film director.

I approach every film as my first film.

I revisit stories and see if they are still living and breathing, because if you do a film you live with that story for another year. I can't do a film in six months and scoot.

Most young people make films to be accepted, to be discovered, when in fact that was the last idea with the group I went to film school with. To be discovered was not our intention. Our intention was to tell our story our way, and make our own mistakes and learn from film to film.

Because my movies are not successful, they are not shown. So I make a living from the budget.

If I was down to the last dollar of my marketing budget I'd spend it on PR!

When you watch a film, a huge part of it is the music and the coloring and everything that comes together to create such a unique film. So, reading the script, I had no idea what it was gonna be.

I applied [to film school] figuring, "I need to find some structure for myself. I need to find a way to figure out what kind of filmmaker I want to be." And that is what film school provides you with. It'll teach you the basics of how a production works and the technical side of how to put everything together, but you could also learn that by working on film sets.

When a film is reviled, you open a film and people say "Oh, it's the stupidest thing, it's the worst movie." You think: oh, nobody's going to ever speak to you again. But, it doesn't happen. Nobody cares. You know, they read it and they say "Oh, they hated your film." You care, at the time. But they don't. Nobody else cares.

I grew up working in Canada so everything was low budget.

I would rather portray the hero if it's a really great film. All my favorite fictional film characters are heroes, such as in 'The Last of the Mohicans' and 'Robin Hood.'

When I am playing the protagonist of the film, before the release, I feel a certain pressure because I become the face of the film, then, and I have a major responsibility.

I went for a six-month trip around the world on a shoestring budget.

My dad made a film called 'Willow' when he was a young filmmaker, which screened at the Cannes film festival, and people were booing afterwards.

I'm not a genre film filmmaker. I'd rather look for a topic that I think we need to bring up and discuss because there's something about the issues in the film.

I've always felt that, although Truffaut was greatly revered and admired, at the same time, in terms of film and how much he loved film, he was underestimated.

Film maker Andi Olsen has a wonderful short film called Where the Smiling Ends. She waited at the Trevi Fountain in Rome and filmed the tourists only at the moment after their photos had been snapped, the moment their smiles dissolved. It's genius and heartbreaking. I think about her film when I explore the places the strips malls meet the wild world they are eating up.

It proved to be pretty impossible to get funds for a feature film in Finland. It's still small, but the film industry was miniscule at that point in the early '80s.

We petitioned to get access to film [Suffragette] at the Houses of Parliament and we whooped with joy when we were allowed in, as this is the first ever commercial film to shoot there.

No critic writing about a film could say more than the film itself, although they do their best to make us think the oppposite.

Cutting budget deficits can never be just an exercise in economics.

The thing is, as a film director, you're essentially alone: You have to tell a story primarily through pictures, and only you know the film you see in your head.

I was about 6 or 7, I would have said I wanted to be an actor and an artist. And that just kind of kept honing itself around film and getting closer to film.

After I read the story of 'Dangal' and before the film released, I called director Nitish Tiwari asking him if he had any good script. He told me to wait for some time. So we had three-four sittings, and this film, 'Chhichhore,' came to him. The film did not have superstars, but I felt that this is the script that needs to be told.

The makers of 'Ushakaal' said that if I don't do the film they would shelve the project. I didn't want a good subject to be shelved because of me so I went ahead and did the film.

One does not have to get frustrated with getting an opportunity, whether it is film, short film, web series or TV shows... As an entertainer, opportunities have expanded.

If we can't find cuts in the defense budget, we're not looking carefully enough.

I went to film school when I was 17, and of course when you are very young you think that there is nothing else in the world except film. At some point I started getting hungry to see something else. For five years I didn't make any films, I was traveling around the world, writing for newspapers, working in theater, working in opera, I thought I would never return to film.

A film you can explain in words is not a real film.

We absolutely need to reform the Congressional budget-writing process.

The audience is making the film and not the film-maker.

When I have a low budget I always try to make it a lesson in economy.

There is nothing wrong with centralizing the budget in Manila. We are such a small country.

Let's establish that no one in Washington actually cares about balancing the budget.

Some things definitely work better on film than in books. Introspection is great in books but it doesn't work on film. Anything with high intensity, whether it's a love scene, a car chase, a fight scene - those things work so well on film and oftentimes they can tell a much broader part of the story.

I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.

When I did my first student film, it was a ten minute film and it cost $U.S.4,000. I worked three jobs to pay for that and I haven't really slept since.

I was very happy to learn Oliver Stone had decided to make a film about Edward Snowden and believe this is a powerful and inspiring film.

To make a film is easy; to make a good film is war. To make a very good film is a miracle.

I'm very budget-minded myself, and it serves me well.

The film I think was a good film for what it was designed for. It was for kids. Unfortunately the critics slashed it before it even started but that is just the way the cookie crumbles.

Usually, I make such small-budget films that I can't afford to buy weather.

I think the British industry is set up to support British film, if we make films that enable them to support it. If you don't make a commercial film, distributors can't get behind it. If they don't get behind it, the film doesn't do well.

It was the beginning of film for television. So we had all of these great opportunities. Northwestern was probably the only major film school of its kind at the time that was graduating anybody important.

There is also an artistic element which is lead by the film maker. Issues of what is reality and objectivity are as always relevant as someone is going to edit the film.

The budget of 'Vada Chennai' is nearly Rs 60 crores.

The movie of my life must be really low budget.

I would rather portray the hero, if it's a really great film. All my favorite fictional film characters are heroes, such as in "The Last of the Mohicans" and "Robin Hood."

Generally, the bigger the budget, the less interesting the characters become.

The parts of a film should be in proportion to the whole, and a long film pasted together out of quick little scenes makes me dizzy.

I still, by and large, make low-budget Australian films.