Top 1200 Classic Films Quotes & Sayings - Page 2

Explore popular Classic Films quotes.
Last updated on December 19, 2024.
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The original 'Scream' is one of those classic things, but it totally pokes fun at itself too. It's never taking itself too seriously, which is why I think it's such a cult classic.
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.
My guitar is a mutation between a classic Fender Stratocaster guitar, which I played for years, and a Gibson solid-body like an SG or a Les Paul. It contains all sounds of the basic classic rock n' roll guitars. It does what I want it to do.
I think 'Death Race 2000' is a classic, but it's a classic from the 1970s, and I think it's a particular kind of drive-in-exploitation movie satire masterpiece, and it was very much a movie of its time.
There are so many things we have not seen in 'Spider-Man' yet... I want to use bad guys never seen in movies. The first films were so traditional and so scrupulously followed the character's classic plot... So there's a lot of stuff left in stock. 'The Clone Saga,' for example.
I love classic animation, and I especially love classic cartoon music.
To be involved with movies that become kind of cult classics... I've been very fortunate. 'The Warriors' is certainly a cult classic, and 'Xanadu' is, to a certain degree, a cult classic as well.
My dad had a commercial film company, so he had a videotape player before anyone. So he got Mel Brooks movies or Citizen Kane or some classic old movies. And every summer the revival house in Evanston would show the great films from the '50s and '60s and '70s.
I love classic looks and I love glamour. I love being able to switch to a classic day to a really really nice glamorous look at night. — © Erin Brady
I love classic looks and I love glamour. I love being able to switch to a classic day to a really really nice glamorous look at night.
I want to make films that are political and social. Films with a message or an idea. Films that dare to ask.
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.
To be honest, I would like to have worked with Peter Sellers, because when people talk about classic British actors, you talk about Lawrence Olivier, and Peter Sellers was just in the most amazing films.
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'm a big kid, I'm a kid at heart, so I still love the classic family films, such as the great Warner Bros film 'Willy Wonka and the Chocolate Factory' - not the remake, but the original. It's still one of the best movies, hands down, ever made, and of course that goes back to the ingenuity of the characters and the storyline.
Women sometimes really love to look at other beautiful women on the screen. But they don't look at a woman the way a man looks at a woman. They want to be that woman. They like if a woman is beautiful or sexy, especially if she's powerful. They like to see her catch a man, or to be powerful in the world. I think this is why a lot of women love noir films and classic films because they can really identify with these really strong, beautiful women. That's the kind of power that women have lost culturally.
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.
A big part of the Alice Cooper sound is the big classic rock licks, the big, classic thematic kind of... It's not about going crazy, it's not about playing super fast.
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.
I feel like I hadn't given that many classic films, like, a really good chance. I watched 'Casablanca' a really long time ago when I was like, 12. I didn't like it that much, and then when I saw it again in class, I loved it.
I never solicited myself as a singer until I realized I could use that to a musical standpoint. I loved musicals growing up. Classic films were some of the only ones I watched. So when the opportunity came for the show to audition, of course it was all of a sudden, "I sing! I sing! Send me in, please. I beg of you."
The Classic games were Classic because, like classical music or architecture, they strove to give life and weight to ideals of order and proportion, to provide a vision of timelessness. In 'Double Dragon,' we can see the cracks in the brick, the mold growing on the drainage pipes, the unmistakable deterioration of the world we live in.
Adam Levine and I remade the Rolling Stones' classic Wild Horses, and it is right up my alley, that whole style. It has a style of its own but still stays very true to the classic arrangement, and I love it.
My goal has always been to make classic records, classic albums. Sometimes the recording process and the era it was recorded in means the production leans in a particular way, but to me they are all part of the same process.
You know, I was really privileged to meet Woody Allen, who is now a filmmaker, let's be honest. He's also an actor. And he's classic. And because I have no conception of what classic fashion is now, I respond to his slightly outdated sensibilities.
My rule is always if you keep your basics classic. You can add seasonable and very trendy stuff and always look modern and updated, but if you're questioning something and its expensive, err on the side of classic.
And I thought, when I have kids, that's the sort of well told, silly, and fun fairy tale that I would want to take them to. But it was an amazing experience. And I think Shrek is a real classic, a fairy tale classic.
A classic song is timeless. You'll never outlive a classic song. I'll never put The Beatles 'In My Life' on one day and say, 'That doesnt move me any more.' — © Richard Ashcroft
A classic song is timeless. You'll never outlive a classic song. I'll never put The Beatles 'In My Life' on one day and say, 'That doesnt move me any more.'
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.
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.
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.
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.
Sirkian films really aren't - at least the way I see them, they're not about identification. They don't have voiceover. A lot of the love stories that are rooted, classic love stories rooted in point of view, use voiceover as a mechanism for locating you there.
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.
I just want to make a classic. Classic is the standard. I'm just trying to make music that will last a lifetime. — © Yelawolf
I just want to make a classic. Classic is the standard. I'm just trying to make music that will last a lifetime.
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 like films and I have been watching films from a young age. So, making films happened to be a natural progression.
I made French films and other films and a lot of Arabic films, but what I like is English for myself.
I grew up watching the films of 'Carousel' and 'Oklahoma' and 'The Music Man' and 'My Fair Lady' - all the classic musicals of that golden era, The sort of more modern musical theater, or what was modern when I was at a ripe teenage age, I wasn't really listening to that stuff. I was really more raised on the classics.
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.
Longer is not my best song, it's just a classic love song, and every songwriter always dreams of writing a classic love song.
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.
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.
I love Sam Raimi. 'Evil Dead 2' is one of my favorite films. It's one of the best cheaper horror films I've ever seen. Horror films and suspense films can be made on a low budget without big stars and be very effective.
The vampire or the bad guy, that's what people do remember. Lars von Trier, like Guy Maddin, their films are made for a group of exclusive people who like special films. And they are special films, they are art films. And I started with commercial films at the beginning, and later on, because you know, when you are an actor, you have the same cliché like everybody else, you want to be in big films, you want to be known and all that.
I'd love to do a noir. I think Steve McQueen is so cool. But a classic film is a classic film, and perhaps the fantasy of being those characters should be left alone. You're treading on very thin ice.
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. — © Eriq La Salle
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.
I am a fan of movies and there is something about watching film that is burned into celluloid for all time that is now a piece of history. You go watch, being a fan of classic films and my children and their children are going to be watching these movies.
I figured if I write a modern thriller but spliced in the DNA of a classic western - the drifter who comes into town with secrets - I could do something interesting with both genres. Westerns are also an incarnation of the classic knight errant tale, the lone warrior with a moral code, and I love those types of stories.
The Princess Bride S. Morgenstern's Classic Tale of True Love and High Adventure You had to admire a guy who called his own new book a classic before it was published and anyone had a chance to read it.
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.
I like independent films... European films. I do go and see popular films as well because my kids force me.
Classic comedy is classic comedy, and it will go on for years.
I was inspired by the classic rock radio of the Seventies. They separated Chuck Berry and the Beatles from the Led Zeppelins and Bostons and Peter Framptons of the time. In many ways, classic rock became bigger than mainstream rock.
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.
There's a hardening of the culture. Reality TV has lowered the standards of entertainment. You're left wondering about the legitimacy of relationships. It's probably harder to entertain the same people with a more classic form of writing, and romantic comedies are a classic genre.
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
In each restaurant, I develop a different culinary sensibility. In Paris, I'm more classic, because that's what customers like. In Monaco, it's classic Mediterranean haute cuisine. In London, it's a contemporary French restaurant that I've developed with a U.K. influence and my French know-how.
Personally, I'm very classic. If I'm going to wear a suit, it's going to be classic, black, and fit very well. There's nothing like it.
I realized that Owen [Suskind] is completely brilliant, because he embraced and memorized all these classic Disney films - these fables that chronicle the hero's journey, and have existed for thousands of years. Owen, in a sense, grew up on a diet of myth and fable, and has become an expert on their themes, which contain a moral guide that connects people.
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