Top 1200 Feature Film Quotes & Sayings

Rather than being a prop in a film with big actors, I would love to do a meatier and more meaningful role in a film that does not feature a big actor.

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.

I had originally written 'Pariah' as a feature, and we shot the first act as a short film, and then we used the short as a marketing tool to fundraise for the feature.

I went back to Dallas for a little while to finish my short film 'Rusty Forkblade.' It was not the instant success I thought it was going to be. There's a false narrative that if you make a short film right after senior year, you'll be plucked out to make a feature length film, and the rest is history. I didn't do that.

Going from a short to a feature is like going from crawling to flying. It's a big jump, really. Everything triples - size of crew, budget, shooting days, the cast. Not to mention the stakes - as a first time feature filmmaker so much rides on this film.

When I was going for my graduate degree, I decided I was going to make a feature film as my thesis. That's what I was famous for-that I had my thesis film be a feature film, which was 'You're a Big Boy Now.'

Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.

Whenever I'm making a feature film, I wish I were filming a documentary, because making feature films is so stressful. It happens every time.

Let's put it this way: if I were to direct a feature film, I would not be in it.

A feature film is twenty-four lies per second.

One feature film that I am most proud of is Forrest Gump which starred Tom Hanks. Once you are called out to work in film, yes it is a small industry and your name gets around pretty fast.

All in all, I'd like to venture into film. Films are my staple diet, so I would love to be part of a feature film, independent film... it all just depends on the story and the people behind it, really.

After you've done the first feature, then you have heck of a difficult time getting your second film off the ground. They look at your first film and they say, "Oh well, we don't want you anymore."

I initially moved to Switzerland for work on an animated feature film, and have been here ever since.

Whenever we went out to film in the street we would end up in the police station and in the offices of some other security agency. They deliberately intimidated us. I moved to Kurdistan and changed my name and made my first feature film in Kurdistan with very basic resources.

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.

I wouldn't necessarily recommend shooting a feature film on a still camera.

I want to direct a feature film. Horror is my main genre.

Charlie Chaplin and I would have a friendly contest: Who could do the feature film with the least subtitles?

As soon as I finished film school I was thinking about, how do I get to feature films? It took about eight years, and I'm still working. Feature films was not the end goal. Feature films was one of the stages. Getting to the point of the Coen brothers or Tarantino, where you're writing your own material and have the budget to do it properly, that's the end goal, and I'm close to that.

When I said that something was going to cost a certain amount of money, I actually knew what I was talking about. The biggest problem that we were having on the financing front was people with lots of money saying "you need more money to make this film [Moon]," and us saying "no this is the first feature film we want to do it at a budget where we sort of prove ourselves at the starting end of making feature films; we can do this for $5 million." That is where the convincing part between me and Stuart came, we had to convince people with money that we could do it for that budget.

I started off writing TV adverts. I saw those as rehearsals for a feature film.

I want to do feature films. I am flying to Malaysia to be in another feature film. We will be filming that in Malaysia, the Phillipines, and back in California.

When you develop an entire feature length film from scratch the challenge is developing an entire feature length film from scratch! - the world and all of it's characters need to be created. There is no story/plot - all you have is a blank sheet of paper.

Working on 'Westworld' has been an incredible experience in learning to make something with the scope of a feature on a TV timeline with a budget nowhere near what you would expect for a feature film equivalent.

By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.

We can still do a stop motion feature for about one-third of what it costs Pixar or DreamWorks or Blue Sky to make a feature. But nobody is interested in a film that cost $50 to 60 million with the potential to do $120 million. They want to risk big money to make huge money.

A short film is not a shortened feature film. It has a soul of its own.

I think the power of the short film is incredibly underrated. It is way easier to get someone to watch a 15-minute film then a full-length feature. In those 15 minutes you have the opportunity to express your voice as an artist and hopefully connect with your audience. If you are trying to be a first time feature director then a short film that demonstrates you have a grasp on the themes and concepts of the movie you want to direct is a no-brainer. Whether they are collaborators or potential investors, filmmaking is a visual art form so you obviously need visuals to show them!

Feature film can have a major role in explaining ideas and describing peoples' lives and their struggles.

Our feature film, 'Crouching Tiger, Hidden Dragon Two,' has a built-in fan base from the original film.

Most people look at a feature film and say, "It's just a movie." For me there is no border or wall between fiction and documentary filmmaking. In documentaries, you have to deal with real people and their real feelings - you are working with real laughter, happiness, sadness. To try to reflect the reality is not the same as reality itself. That's why I think that making a good documentary is much harder than making a good feature film.

Making your first feature film is actually impossible.

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.

Ever since I made the short film 'Black And White,' which had almost no dialogues, the idea of making a silent feature film fascinated me.

A feature film is an expansion of budget, stress, story, hours, time, workload, everything.

I was doing the promotion for Moon in LA at the same time that Tony Scott was there with [The Taking of] Pelham 123. But obviously he was so concentrating on his own film that he didn't even know I was doing a feature film.

What I did was I completed the half-hour film, but before really showing it, I wrote two more sections for a potential feature film which I didn't think would really happen, but at least I had it in case.

[My work] looks very cinematic because it's not abstract video art. It's sometimes very narrative and since I play with film grammar in my video work, making a feature film was almost the same challenge.

'3' was initially not a feature film but a short movie.

I've not had any interest in running a movie studio, but I want to make one feature film.

I've always wanted to do a feature film, because, as a model, you have to play so many different characters.

Dragon's Lair 3D is about as close as you can come to controlling an animated feature film.

It's a simple thing he [Frank Daniel] taught me. If you want to make a feature film, you get ideas for 70 scenes. Put them on 3-by-5 cards. As soon as you have 70, you have a feature film.

The feature film has changed a lot. Art houses are gone and people show a certain type of cinema in the big theaters now that, you know, it's not quite really good for me, and if I made a feature film, I was think I'd play in LA and New York for a week, and then go right to television.

Robert Rodriguez, makes a feature film in 35mm celluloid one and a half hours long, and nobody believed him, I think he wrote a book about it and gave all the details of how he spent the money, even making a 35mm celluloid feature film was possible, at least for Rodriguez.

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.

My first experience on a feature film was with Shane Meadows on 'This Is England.'

The feature film business, the studio film business, feels to me like there's just nowhere else to go. It's like a record that's just skipping at the end, with the needle stuck in the run-out groove.

Trying to make a feature film yourself with no money is the best film school you can do.

Music is the subliminal connecting adhesive in film, or at least in narrative feature films.

In a feature film, the question of censorship always comes up.

If forced to choose my favourite film, I would have to say 'Raging Bull' because it was the first feature film I worked on, and it was like having pure gold in my hands. But my husband's film 'The Life and Death of Colonel Blimp' is equally a favourite because of its enormous emotional power.

I had written three books [Games of Throne], at that point, and each one of them was better than the other. At a certain point, as the books were doing well, I started getting interest from Hollywood, from various producers and studios who were initially interested in doing a feature film. I met with some of those people and I had phone conversations with some of those people, but I didn't see it being done as a feature film.

My dream would be producing, maybe directing - definitely not writing - one feature film.

I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.

I did New York, I Love You which is a very personal film for me. My most personal film, but it's not like a film I've ever made. I would never do that film as a feature, for instance, because it's not very commercial of an idea.

I get better roles in television. I'm not going to do a lesser role just to be in a feature film.

We've always had a roadmap to feature filmmaking, and making a feature film could have been three or four years away for us. But crowdfunding helped us get there in a year, and it allowed us to take a much bigger step.

It's tricky to take a book of short stories and turn it into a feature film.