Top 1200 Feature Film Quotes & Sayings - Page 4

When you're writing for a game - even if you're using very well known characters like Batman and his villains who lend themselves to many different interpretations - you have to keep in mind that you're writing for a different medium. Things are a bit more straightforward than it is for a feature film or a TV show.

Feature-length film comedy is harder to pull off than the episodic sitcom - it doesn't have the same factory machinery up and running, teams of writers putting familiar characters through permutations - but that doesn't explain the widening quality gap that makes movie humor look like a genetic defective.

Many of the network television shows have done takeoffs on 'Family Circus,' including 'David Letterman,' 'Friends,' 'Roseanne,' and others, and, in my estimation the use of them is a compliment to the popularity of the feature, which just by mentioning it's name sets up the image of a warm, loving family-type feature.

One of the silliest lines ever said in a feature film came from Love Story, the 1970s hit, which immortalized the phrase, "Love means never having to say you're sorry." There are few people who would actually want to share a life with someone who held that concept near and dear.

I think making shorts is really about giving yourself the opportunity to learn what your strengths and weaknesses are. That's really important to know before getting to your first feature. In many ways you can't afford to make too many mistakes while on that feature.

Often times people complain about the lack of time in television, but I have to say, you don't have any more time to film in feature films then you do in television. It's just a question of how many scenes you'll be doing in the course of a day.

A film album has these big stars - like a Shah Rukh Khan or a Salman Khan. Independent music videos don't have that luxury, and you cannot feature big stars in all the songs of your album.

I'm being photographed, worrying about my hair - and yet here I am, I've directed a feature film, why do I care about the way I look? Who cares? Does Tim Burton care? Does Joel Coen?

[When] Johnny Mnemonic was coming out and I realized that all the kids that worked in 7-11 knew more - or thought they knew more - about feature film production than I did. And that was from reading Premiere, that was from this change that came from magazines that treat their readers as players. Magazines that purport to sell you the inside experience.

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.

I don't know if there's ever been a female-driven film or a male-driven film. I don't believe in that. I believe a film is a film - a movie can only work if everything about the film works.

I'm a movie buff. My mom would take me to a double feature. We'd come out, go have Chinese food, and then go back into another cinema and see another double feature. I feel I'm a child of the movies.

The weird thing about the arrow of time is that it's not to be found in the underlying laws of physics. It's not there. So it's a feature of the universe we see, but not a feature of the laws of the individual particles. So the arrow of time is built on top of whatever local laws of physics apply.

I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.

I did some feature work, then tried TV. I was always very aware that the only power that you have is the power of options. If the film industry dries up, then you focus on the TV or the books. For me, it was always about what story do I want to tell next?

When I graduated from Brown after majoring in women's studies, I made my first PBS documentary, 'Women of Substance.' My first feature documentary was called 'American Hollow,' which I did for HBO and was at the Sundance Film Festival.

Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.

Once you've made your first feature, you know what you can do wrong and how hard it is to shoot a feature. Before you do it, you just don't know how hard it is. Once you've done it, when you're writing a second one, it's almost like you're preparing, and it's almost holding you back.

Well, as far as film, either you're making a film or you're making videos. Digital capture is always trying to emulate the range and look of film. I believe personally that film has more.

Angel was the first Irish feature film. Neil's first movie and my first movie.

It's always harder than you think to make a good film. Feature films are a hell of a marathon to say the least. It's kind of your endurance. How much can I push? How much do I care? How much time it takes is a nice reminder.

Directly after Rock Hudson's death came the fears that gay writers and actors and directors would be denied jobs; who knew if they would live long enough to finish a feature film or television series? And would the unions force directors to give blood tests and ban actors who tested positive?

I started writing this feature comedy in New York - a Chris Farley vehicle. The script was decent. When I got to LA, I met some new friends in film school and had them read my script and give me notes.

As I got into the animation, as I learned more about the business, I learned that you need a lot of people to do anything animated - even a short, let alone a feature film. And you need a lot of money.

Although there were only about 24 episodes made it seems to run forever. They take a couple of episodes and put them together, making a feature film once in a while. I had good fun making the series.

I wanted to make Jerusalem as feature film. But we couldn't finance it only through theatrical release, we couldn't get all the money we needed. We had to get some money from television. So we said, ok, let's do it both ways. So we did it in four parts.

If you do too much acting in a lead part in a feature film where you're 40 ft. high, it's rather unattractive. You can see the acting. And it's actually the right thing to do to bring as much of yourself, I believe, to the part as you possibly can - to minimize the amount of theatrical stuff that you need to do.

For shows that are hyper-serialized, it just seems to make more sense to follow a feature film model than follow a television model, which was set up more for a procedural type of show.

I began my career creating art for an animated feature film, and it has been a life-long dream to tell some of the story of my own life - the story behind my art - through the medium of motion pictures.

The short film project I just finished for W Hotels and Intel, I didn't have my script finished until a few days before we began filming. We edited it very quickly and now it's up online. It was great to conceive an idea and have it premiere just a few weeks later, compared to a feature, which takes a year or more.

In interviews, I never wanted to play into the myth of, 'Yeah, I was sitting there doing nothing, and then made 'Slacker.'' No. I'd been making shorts, a Super-8 feature, and running a film society. I always try to stress to people that there's a lot of work involved and years of preparation. But no one wants to hear that part.

It's called 'Fight Valley,' and it's my first feature film. I just dove in and did the best I could. I don't think I'm gonna win any Academy Awards on this one. I had fun with it and hopefully will get more opportunities like that. It's about two sisters, one poor and one rich, and one goes into underground fighting.

We are disturbed about the effect of the Jewish influence on our press, radio, and motion pictures. It may become very serious. (Fulton) Lewis told us of one instance where the Jewish advertising firms threatened to remove all their advertising from the Mutual System if a certain feature was permitted to go on the air. The threat was powerful enough to have the feature removed.

What Google did in Web 1.0 was take a feature, which was search, and built an entire business around that utility. In Web 2.0, Twitter took a feature, which is sharing, and built a utility that allowed people to do that on a massive scale.

But my vote for Venus's most peculiar feature is the presence of craters that are all relatively young and uniformly distributed over its surface. This innocuous-sounding feature implicates a single planetwide catastrophe that reset the cratering clock... turning Venus's entire surface into the American automotive dream-a totally paved planet.

Sony could have $50 million and a sound stage and A-list actors and never make the same film. The constraints on this film became the essence of this film, became the power of this film.

The beauty of my job is I do all different kinds of film directing, not just surf films anymore. And I do stuff from commercials to short films to working on feature films, and none of it is based from where I live. It's all based elsewhere, so I can live anywhere and commute to where I need to go.

Little projects - not feature - film projects - you know, theater things, writing things, and jobs like doing rewriting for money, stuff like that. I don't recommend it. It's not a schedule that I'd want, although it was really good for me in a lot of ways. I became a better writer.

At times the [radio telescope] records exhibited a feature characteristic of interference, occurring some time later than the passage of the two known sources. This intermittent feature was curious, and I recall saying once that we would have to investigate the origin of that interference some day. We joked that it was probably due to the faulty ignition of some farm hand returning from a date.

My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.

I'm probably going to go more the feature film route for a while, just so I have more time on my hands. If I did go back to television, I'd do a comedy, a half hour. Or I'd go back on an hour long if it was ensemble, if I had a smaller role, if I could work less days.

I call it a comedy film, but I feel that is because 'Sholay' is a complete film. It is the best in every aspect. You see the music, the editing, dialogues, action, drama, tragedy, and the emotions of this film and you will find everything is perfect. It is a flawless film.

The thing about film is that your eye is selective. Film isn't. You have to make film do what you want. Simply photographing something doesn't do it. You have to know how to apply light and know what it does on film.

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.

The first director who ever allowed me to shoot a film for him was a male. He was a gay male. My first feature also came from him. I worked for a lot of dudes at NYU.

Film festivals are a great vehicle for gaining an audience for your film, for exposure for the talent in the film and for the film makers to leverage opportunities for their films. I love the energy that film festivals bring.

But I had never drawn on a tablet before. I've been doing pencil and paper and film for almost 20 years. I wanted to try something different. I wanted to teach myself some digital stuff in advance of a bigger feature project that's coming up, and I took to it really quickly.

Docs are more exhausting because of the physical labor that's required. Feature filmmaking is more exhausting because of politics and the bullshit. You get to the point of rolling film and until you lock picture it's one political game after another. They're both struggles for survival. They are two different worlds.

I had the experience last year of directing my first feature while I had a 1-year-old son and while I was also pregnant, so I am now well aware of the difficulties women who are rearing children face when they're also trying to make headway in mainstream of film.

I always believed in if you give your best, people will see it, and it moves to the next level. I got my first movie, and I gave it my best. Before I was done with that movie, I was offered my first feature film.

I've been working my way to doing my first feature film for about ten years. So I went through the commercials route and some people come from a theatrical background and some people come from a writing background, but I directed commercials

As the world of independent feature filmmaking became increasingly commercialized by the mid-1990s, there was also a parallel, much more positive development: a resurgence in documentary filmmaking, thanks in part to the advent of the cheaper, lighter digital format that helped to offset the daunting costs of pursuing political aims through film.

The first feature film I did, when I did 'Night Shift,' I improvised quite a bit because I would improvise at the audition, so sometimes I would return to the original lines, and then when I was on set, I would improvise even more.

With a feature film you're dealing with so much more money and you've got to be very aware of the fact that you're really working with an audience. You've got to have a relationship with the audience. Play with them and show them things you want them to see.

When you're casting a movie and when you're shooting a film, the eyes are the most important feature of any performer, really. Any great actor literally knows exactly how to use their eyes, and even as a filmmaker I love shooting huge close-ups because it's those eyes that mean so much to me.

Ownership is not a general feature of our society, determining its character. On the contrary, dependence on a precarious wage at the will of others is the general feature of our society.

I think a reason why TV is exciting and getting so much better is because we [authors] get to play off of an actor's strengths and challenge them on their weaknesses. On a feature [film], you don't necessarily get to do that. You hope that they cast the right guy, who comes in and plays your part.

I have no issues if audiences don't like a film or a performance, and the film doesn't do well. My problem is when they say that the film was good and performances were excellent, but the film didn't run. I have a problem when that happens.

I've always slightly harboured a dream of making a film, a documentary feature. Somehow I just got into a way of working a routine of making TV docs. It's not as though you do that enough and then graduate - you sort of need to make a conscious decision to work in a different way.

I started doing documentaries in the first place because of the war. I always wanted to do feature films, and I studied directing when the war started, so I was working with actors before, in film and in theater. So I think it's easy to work with actors when you have a script that is clear, when they know what and why they are doing it.