Top 1200 Feature Film Quotes & Sayings - Page 5

I'd like to do an action film, a full-on comedy film, family dramas and a soulful romantic film.

I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.

To me, a revolutionary film is not a film about a revolution. It has a lot more to do with the art form. It's a film that is revolting against the old established language of cinema that had been brainwashing the people for decades. It is a film that is trying to find ways to use sound and image differently.

Personally speaking there's only so long you can go from film to film to film. There's an inspiration an actor gets from the stage.

The great thing about television is that you get to tell, like with "The Walking Dead", 16 hours worth of character-driven storytelling in less time than it takes to make a feature film. So, it really is a medium at least for storytellers who are passionate about not only the genre but also the character-driven genre stories. It's probably a better medium.

I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film.

I am an actress. My first film was a Telugu film, my second film was Bollywood, and third was Indo-Chinese.

With The Exorcist we said what we wanted to say. Neither one of us view it as a horror film. We view it as a film about the mysteries of faith. It's easier for people to call it a horror film. Or a great horror film. Or the greatest horror film ever made. Whenever I see that, I feel a great distance from it.

I pretty much believe that a film is a film and when an audience watches a film, they finish it.

I always tell young filmmakers, don't go make a feature. Make a short. When you're ready to make a feature, people will tell you. Your friends will tell you. Your fans will tell you. Festivals will tell you. Listen to your audience.

My introduction into the film industry happened with 'Masaan,' which was a multi-star cast film. I was just a part of the film.

African films should be thought of as offering as many different points of view as the film of any other different continent. Nobody would say that French film is all European film, or Italian film is all European film. And in the same way that those places have different filmmakers that speak to different issues, all the countries in Africa have that too.

The Company of Wolves doesn't belong in any category, so it's difficult to prepare an audience for it. It's not a horror film, it's not a fantasy film, it's not a children's film - so what is it?

I was a child in the '60s and a teenager in the '70s, which was the golden age of film as far as I'm concerned, between American film and the Italian reinvention of genre film.

A film is not a documentary. And what's wonderful about film is that it's a real provocation for people. I never, ever see film as being an absolute version of the truth.

I'm very troubled when editors oblige their film critics to read the novel before they see the film. Reading the book right before you see the film will almost certainly ruin the film for you.

We made four feature films with Sherwood Baptist. The wonderful thing was the church (members) volunteered. It was an awesome atmosphere of attitudes. The hard part was (that) all four of the first feature films we made take place in modern-day Albany, Georgia. We know that not all of our films going to be (set in) modern-day Albany, Georgia.

I'd never read 'Prince Caspian'. I watched it and loved that film. Everybody was talking about its lack of success; its relative success in comparison to the other film. It's a great film. It deserved to do a lot better than it did. It's very difficult to make a film that will match up to the first.

Hindi film industry makes film for the rest of the world. Tamil films are watched by Malay people. When a film is not bound by a language, why should an actor be?

A real common problem with a lot of animals is that guys are bad, hate to say it, but they will tune into some big feature like the glasses, maybe the beard, baseball hats, you know some unique feature like that. And they'll generalize like, "Okay! All people with baseball hats or black rimmed glasses are bad."

Film is so much to do with perfection and how differently you can feel about someone at the beginning of the film and the end of the film.

As I talk to film students now especially, I say, "The easiest job you'll ever get is to try to make your first film." That's the easy one to get, is the first film because nobody knows whether you can make a film or not.

Film noir is not a genre. It is not defined, as are the western and gangster genres, by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood. It is a film 'noir', as opposed to the possible variants of film gray or film off-white.

I was writing short films and I was going through this really, really, really terrible end of a relationship that I didn't want to be going through. It was too much for me to process and all of a sudden I had this idea for my first feature film and I knew right away I had to start writing it.

I didn't start out my directorial career with a dance film, as I knew people thought a choreographer will easily make a dance film. And even with a non-dance film, I had delivered a successful film.

I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film

You choose the film, and then the film chooses everyone else; a film decides everything on its own.

I think I entered the market around the time when there was getting to be less snobbery about the difference between feature films and television. I think there's been a lot more receptivity on television to interesting adult stories that in the '60s and '70s would have been made into feature films. I have no problem jumping back and forth. If anything, I find it less restrictive working in television.

Movie is a near art form. It's showbiz and people want to make money. And generally people are financing things because they think it will make money whether it's a cable news show, a cable show, or a feature film, or whatever it is. So that's the part of it that drives it, I think, is really the dollar.

But in film you always watch situations or stories that you really have no relation to. A lot of times just because there's no personal connection doesn't mean you can't connect with the film or the characters in the film.

The biggest misconception about me is perhaps that I film all the time and film everything randomly. The truth is I film very little and always when something excites me and seems to mean something for the film.

With the right movie, 3D can enhance the experience. Absolutely, it can make a good film a great film. It can make a great film a really amazing film to see .

I've always been interested in film, so to get involved in any way in the genesis of making a film or music for a film is fascinating to me.

When I begin a film, I want to make a great film. Halfway through, I just hope to finish the film.

I find that male directors are more interested in what the film looks like as opposed to what the film is about emotionally. My job is not to make the film look pretty, and I don't feel drawn to making myself look pretty within the film.

When you're making a film, you don't really have time to consider what the whole of your film is. And then, when you're releasing your film and promoting your film, you're looking at it in a different way. Then, as you move away from it, you start to look at it objectively and think, 'What could I have done better?'

I am doing what I want to. It doesn't matter if it is a Karan Johar film or a regional film or a short film.

I considered going to film school; I took a course in film and was very interested in filmmaking as well as film writing.

I did three of the original 'Twilight Zone' episodes, yes. Also, I did a little thing in the feature film, and then I wrote one of the episodes in 'The Twilight Zone's last round where I starred with Cloris Leachman and my daughter Liliana in a true sequel to 'It's a Good Life.' So, yes, I have a good 'Twilight Zone' alumni jacket.

I hope people like me in the film and love the film because I think 'Befikre' is a very sweet film.

Due to the political nature of film, partisan film making, especially where the subject is close to the film makers hart, tend to be the norm, rather than the exception.

I had many years where I just worked from film to film to film. And then all of a sudden I went: "Where did I put my bags down? Where's my little place I call home?"

Wave particle duality is a core feature of our world. Or rather, we should say, it is a core feature of our mathematical descriptions of our world. But what is critical to note here is that, however ambiguous our images, the universe itself remains whole and is manifestly not fracturing into schizophrenic shards. It is this tantalizing wholeness and the thing itself that drives physicists onward like an eternally beckoning light that seems so teasingly near. It is always out of reach.

Men's magazines often feature pictures of naked ladies. Women's magazines also often feature pictures of naked ladies. This is because the female body is a beautiful work of art, while the male body is hairy and lumpy and should not be seen by the light of day.

My last experience of film-making was Tickets, a three-episode film in Italy, the third of which is directed by myself. It's not for me to judge whether it's a good film or a bad film, but what I could say is that nobody had a cultural or linguistic issue with what was produced.

Everything we do on 'Luck' is absolutely no different than if we'd had been doing it in a feature film. There's no short cuts. The specificity of what every single line might mean. Everything Dustin Hoffman does. Kevin Dunn is as authentic in the last scene of the last episode as he is in the first scene of the first episode.

A film is one small voice among other large ones. The film is a tiny part of the discourse. You do what you can but under no illusions of what a film can do.

I would have to say I might do some stuff, but it's the film that's appealing. I was raised on film. My musical experience is all via film, it's not from classical music.

"Fish Tank" [my favorite woman-directed film] by Andrea Arnold. The film is so beautifully shot, and I love the raw energy of Katie Jarvis, who plays the main character, Mia. She is not a professional actress and she provides the film with a sense of realism. To me, the film feels so complete and superior.

There is something that might be called cinematic beauty. It can only be expressed in a film, and it must be present for that film to be a moving work. When it is very well expressed, one experiences a particularly deep emotion while watching that film. I believe that it is this quality that draws people to come and see a film, and that it is the hope of attaining this quality that inspires the filmmaker to make his film in the first place.

On another level this film talks about that. We had tremendous freedom while making this film. We never thought about marketing. It wasn't a film made to sell merchandise or products or to reach millions of people around the world. It was a film made to say what I really felt.

I would love to be nominated for an award at some point or do something that at least engenders the type of cultural conversation that a role like Giancarlo Esposito on 'Breaking Bad,' or actually any of the people on 'Breaking Bad.' I would love to have a role in a feature film that was a cultural talking point.

Whenever the protagonist of the film becomes bigger than the hero of the film, the film is bound to become a hit.

"Bruce" was an Eddie Murphy film, so there was a whole different vibe, working on that film, as opposed to working on a [Adam] Sandler film, which I'd done a few of. First of all, there were tons of kids running around. I'm surprised I ever had a kid after doing that film.

I waited for each film to become important for me. If I had no ideas for a film, I didn't do a film. So I made not that many films for fifty-four years of working.

I think to many people the term 'activist film' implies a film with a single point of view - something designed to provoke outrage and urge action on a particular issue - sort of the film equivalent of a rally. 'If a Tree Falls' is not that kind of film.

Talent has no gender. People are hiring young male directors right out of film school, off of a student film or off of a film at Sundance for millions of dollars. You can do the same with a female. It's not a risk about the work if you respect the film that they made.

Look at 'Dulhe Raja.' It was a film made very quietly on the sidelines, and suddenly, when the film was released, it struck gold. I never expected the film to do well.

Silence Of The Lambs? is a ?fantastic? film. It's a horror film, and it's an incredibly well-told film that is about point of view in such a unique way. The way that film is shot, the way the eyelines are so close, if not directly into camera, betrays an intimacy with the characters and the audience.

Film can express things that computers never will. Film is a series of photographs separated by split seconds of darkness. Film is light and shadow.