Top 1200 Classic Films Quotes & Sayings - Page 3

I've run all the bands I've been in. A great front man needs that other person. It's not enough to have a guy with a cute face standing behind a microphone. I see it like the classic romantic relationships with men and women, where the woman lets the man think he's running it. It's a classic matriarchal trait, and that's always been part of my personality.

Sometimes, they don't even make films with good cameras - they shoot with normal cameras and release the films. If this is going to be the case, the industry will not see quality films.

Good female parts are hard to come by, so I go all over the place to find them: cable TV, network movies of the week, foreign films, independent American films, studio films, the stage.

I have an intense obsession with making films. I not only love to make films, I perhaps need to make films.

As long as I am acting, I will do only Telugu films. I want to take Telugu films to the world. Everyone should talk about our films.

I was in awe of Robert Osborne, the man, and his incredible talent. Like everyone else, I loved watching him introduce classic films on TCM. But I was fortunate to also get to know him in real life by spending time with him and being interviewed by him over the years at events around the country.

Israel has a fantastic film industry, and many times we are known for our political films or films that have to do with the army. I love the fact that we can show that there are films coming out of Israel that are just for fun.

Everybody said you're never going to win this whole Classic. You're not strong enough. You're big, you're athletic, you're fast - but you will never win this Arnold Classic. Those were the people who didn't believe in me... I put in the work every single day - and here I am, three times champ!

I don't care about Hollywood films. I'm not against Hollywood films, you know? Hollywood films were very good before, in the 1950s.

I do not make films which are prescriptive, and I do not make films that are conclusive. You do not walk out of my films with a clear feeling about what is right and wrong. They're ambivalent. You walk away with work to do. My films are a sort of investigation. They ask questions . . .. Sometimes I hear that some [Hollywood] studio is interested in me. Then they discover that this is the guy who works with no script, that there is no casting discussion, no interference, that I have the final cut, and that does it.

I'm going to write films, star in films, direct films. Write records. Perform live.

I was a good student. For a while, my parents did make me cope with school and films simultaneously. But after a point, this wasn't practical. I had to choose between studies and films. I chose films.

My high school had been a renovated old hospital, so when I first came to the UCLA campus in the spring of 1965, I was immediately impressed by the classic northern Italian architecture that was mixed with futuristic ultra-modern buildings. The classic architecture gave it the heft of old wisdom while the modernistic look inspired hope for the future.

I want my films to do the talking. I feel if people have to understand me better, I should do more good films. I just want them to know me through my films.

The truth is I don't see a lot of movies. I see the Oscar films. I see the films that are sent to me and a few films throughout the year.

I like horror films and romance films. Films where you're going in being like, 'I'm coming here to be scared or to fall in love.' You have a goal.

All of a sudden, there are great Japanese films, or great Italian films, or great Australian films. It's usually because there are a number of people that cross-pollinated each other.

Some critic complained about how many small films are released in New York... it annoyed me. Those small films that are lucky to get two weeks are often my favorite films of the year.

When I was a kid, I wasn't looking at the small-budget films myself. I was looking at 'James Bond' and all the major films, so I still have that energy. I still love those films.

What I'm really trying to do is recreate classic Hollywood cinema and classic genre cinema from a woman's point of view. Because most cinema is really made for men, how can you create cinema that's for women without having it be relegated to a ghetto of "chick flick" or something like that?

If you look at the most meaningful science fiction, it didn't come from watching other films. We seem to be in a place now where filmmakers make films based on other films because that's where the stimuli and influence comes from.

I have a problem with the present definition of commercial films. To me, 'Ghare and Baire' is an absolute mainstream film. There are also many films I have worked in that have been called art films by many. But I consider commercial.

As an artist, I am here to get involved in meaningful films. But that does not mean only films like 'Arabikkadha' should be made. If you give an overdose of such films, the subject will become jaded.

I am probably the only actor who came from television serials to films and was able to work in films this long. Of the 75-odd films I've done, in around 40 of them, I've been the hero.

One of the regrets of my life is that I did not study Latin. I'm absolutely convinced, the more I understand these eighteenth-century people, that it was that grounding in Greek and Latin that gave them their sense of the classic virtues: the classic ideals of honor, virtue, the good society, and their historic examples of what they could try to live up to.

One thing I'm big on is believing in giving an album time. I'll say you'll have to give an album three years before you can call it a classic. If you can't listen to it three years later then it's not really a classic.

At some point in time, in the future, people are going to refer to the Step Up films as the films they grew up on. Hopefully, that inspires them to get in dance films that are being made.

Different films have different places in people's lives. I don't get to see a lot of films, so I want to watch films I learn from.

I don't believe in preachy films. I don't like such films. Having said that, I don't even enjoy films that only 'entertain.' That way, even the circus entertains.

I respect Malayalam films the same way I respect Bengali films. I think Malayalam films have not compromised on the essence and have kept their own statement and are coming up with very good themes.

When I stopped making films, they were getting on to the more realistic films and the explicit films and all. They were depicting life as it is, and some of it was unpleasant. I gradually moved away from that.

It's really a great luxury to have, to be able to go from big films to indie films, too. Because I'm on the job learning as an actor, and independent films is where I'm learning to act.

You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff.

They told me that they are starting a classic label, and wanted me to be the first artist. So I signed, and am producing myself, and writing my own music, but I'm their first artist on their classic label. And I have creative control.

Alternate between short films, long form films, with or without stars, small budget or big budget films. Basically a filmmaker needs to be flexible.

I don't compare myself with Freida Pinto. She has come a long way. She does only films in the West. I am open to do both - Indian films and films from the West.

When I went to university, I finally got exposed to European films, and they had a strong impact on me. I felt those films had a lot of things to say that weren't getting expressed in the films I was used to seeing.

I don't like these commercial films I do. I'd far prefer to do more artistic films, more cult films.

Once the script is done, I put it aside for a month. I start thinking of all the films that have influenced me, which I have liked for different reasons, and not necessarily the look, but films that have moved me. Some very strange films came to mind.

The (Sir Arthur Conan Doyle) stories were great, for one. The thing that makes him a remarkable character is how he can withstand all of these different interpretations and different styles and, that's what makes a classic character a classic character; they keep coming back and you see them in a new way every time.

When people around me were signing films, I would wonder why nothing good came my way. See, I wasn't desperate to do films, but I was desperate to do good films.

As far as film goes, I enjoy all Hollywood films and all Horror films like The Bride of Frankenstein, which also might be my favorite. I like 60's and 70's Italian and Spanish Horror films.

I think the audience know which films are aimed at their pocket, and which films are aimed at their soul. There are a lot of films out there made by people who are genuinely trying to make a change.

It is our stories [classic Disney films] that make us human - so Owen [Suskind] has become an expert in what connects us and makes us human. That got to me, the power of these stories, and the lessons these tales give us to create the connection between us.

We do hear perhaps too many accolades generally aimed at people like Steve Jobs. We have to remember that there are other classic things in life that we undervalue and take them for granted. If you think of the classic lines of the modern jet aircraft, it's really been there since early World War II.

With excessive digitisation, now, everyone is making films, which is good, but the makers think that they will quickly make films in digital and bag satellite rights but television channels buy satellite rights of notable films only. If we made fewer films a year, percentage of hits would be better.

It is unintentional that I will do less films, it just happened that way. Like in 2000, I had a line of films signed but it all went for a toss. The films never got made... It just happens.

I equally love both, classic rock and hip-hop. I love all music, really, and I really use classic rock a lot. I'm heavily influenced by that melodically in my music. I can't really separate the two.

I've chosen all my films very carefully. I know that I've had better parts in some films than in others. But the films I do are the ones I want to see when I read the screenplays. I guess you can basically say that I've just done things I loved when I read them.

There's not enough black films out there. There's not enough Latin films, or films that have an Asian, Indian or Middle Eastern lead. The list goes on and on.

I can never take a break from Telugu films, because they have given me a lot of recognition. No matter how busy I am or the number of films that I do elsewhere, I always keep my schedule free for at least two to three films in Telugu.

I personally just want to do as many different things as I can do, whether it's comedy, drama, science fiction, horror, narrator... You've got a documentary, I've got a voice. Animated films. Big films, small films.

But I think the thing I'm proud of about the film is that there aren't many films - either independent films or mainstream Hollywood films - that are like this; it's of its own times, and it's the film Mike Nichols wanted to make.

I came out of film school and went after movies that I thought audiences wanted to see or that the studios wanted, as opposed to the movies that I wanted. Over the last 10 years, I've gravitated more and more toward the films that I grew up loving - classic Spielberg, Lucas, James Cameron and Ridley Scott movies.

I built up a knowledge of 1960s and '70s British films because my dad used to work nights, and I'd sit up with my mum and watch films - 'How I Won the War' and the films of Richard Lester, Karel Reisz and John Schlesinger.

You've got these big studio films and these tiny independent films now. It's very much either/or. With the independent films, it's always a beautiful risk - it might never be seen. With the studio films, you're conforming to the formula of what's always been in place.

I usually take up short films when I am not tied up with feature films. Short films are easier to work on... because it doesn't take much of your time. The number of shoot days are lesser as compared to feature films.

Nowadays, a critic has to watch 700, 800 films a year, and I know through experience, being a juror in prestigious film festivals where supposedly the best films are arriving, from twenty films maybe you see two that are good, one that is so-so, and one that is extraordinary. And the other sixteen are terrible.

Some filmmakers make films to please themselves and a handful of critics, so they get 5-star reviews but their films don't run at the box office. I make films for the masses.

An athletic man, or whatever you want to call him, will only look good in a very classic suit, a pair of classic jeans, athletic clothes or simply naked. Forget fashion. This is not going to happen, unless you want to look like a Chippendales dancer in designer clothes.