Top 1200 Film Actors Quotes & Sayings - Page 7

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.

Well, regarding actors, my idol is Catherine Deneuve, but not in relation to my work, I'm just a fan. As far as genres, I've been reading a lot of science fiction, and I would love to make a fantastic film.

No matter how beautiful actors are, it is not easy to look drop-dead gorgeous in every shot in a commercial film. To carry yourself as if you are the diva, it is not an easy job.

I love working with Scorsese. He's not only a brilliant director and is great working with actors, but he's also a walking human film encyclopedia. It's fun to talk about movies with him.

I don't actually like blocking actors. I prefer giving actors freedom. They don't have to step on a precise mark with me. Instead of giving marks to the actors I like to give marks to the camera.

To me, spending millions of dollars recreating the world's sadness with actors and props and sets - it seems like a kind of arrogant waste of money... Unless, that is, it's a film about an historical event.

You can start a documentary with just a camera, as opposed to a fiction film where you need actors, a crew, a script, a lot more start-up resources. It may be self-perpetuating.

The reason I prefer working with established actors and stars is because they are more popular, and the film reaches out to more people and do well in terms of numbers, too.

People feel that I became an actor because I am from a film family and that my parents were actors. But actually, the only reason I wanted to become an actor was to get away from studies.

Whenever I think of the high salaries we are paid as film actors, I think it is for the travel, the time away, and any trouble you get into through being well known. It's not for the acting, that's for sure.

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.

I know in Britain with 'Doctor Who' all the classic actors, and the people who you'd really want to, work on the show. I like that the fact that 'Torchwood' has actors that want to be involved from the stage. It has raised our game, and I'm just happy for good actors who want to be in sci-fi shows who love the genre.

It's quite clear if you look at the actors in film right now, some of them came from theater but they didn't come from musical theater. There's still a bit of a stigma attached to it I would say.

Actors are agents of change. A film, a piece of theater, a piece of music, or a book can make a difference. It can change the world.

You have the massive world that was created by Marvel, and then you have these very intimate actors around you. There was as much character work on this as there would be on a little independent film. So, I felt very fortunate in that sense.

I think all great actors - and I don't classify myself as one of them, incidentally - but I think all great actors listen well and I've learned that from a lot of the very good actors with whom I've worked - to really listen to what people say.

'She's Gotta Have It' and 'School Daze,' I really didn't know what I was doing. And the biggest indicator of that was the acting. 'Do the Right Thing' was like the first film where I really felt comfortable working with actors.

We have seen many child actors who have gone astray. They were particular that 'Zakhm' was going to be my last film as a child actor and after that I took a six year break for education.

In this type of cinema, whether working with actors or non-actors, as much as you do direct them, if you allow yourself to be directed by them, then the end result will be much more pleasing. The real and individual strengths of the actors is allowed to be expressed and is something that does affect the audience very deeply.

When I was young I used to sit in the cinema thinking wouldn't it be great if you could have a film in which the characters were like real people instead of being like actors.

I like some of the early silent films because I love to watch how actors had to play then. What would interest me today is to do a silent 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.

It feels great when you get to contribute in a show or a film in several ways. When you see lesser known actors coming in small roles and leaving an impact, you feel like they are your babies.

'Zootopia' features such a large and diverse range of characters - one of our biggest casts ever for a Disney Animation film. We needed talented actors who could help bring these animals to life.

Many people say that theatre has no money, but it has been the stepping stone for the best film actors of our times like Naseeruddin Shah, Om Puri, Paresh Rawal, etc.

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.

Newlyweds shooting budget: 5k for actors, 2k insurance, 2k food and drink. 9k in the can. We only shot 12 days. That's how to make an independent film.

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.

A lot of directors on a base level are fearful of actors and maybe even distrustful. I love the craft of acting and I love actors so I think they can probably sense that. They also know that I understand what their process is, having done it myself. The thing I come back to over and over again is that for most people who are not analyzing it from a critical point of view, most iconic film moments are actor moments. We show up to commune with another human being and their experience. We don't show up necessarily to watch a really cool dolly shot.

You have film actors doing TV, rap stars doing TV, with everyone kind of crossing the line.

I love actors. I love working with actors. I really enjoy the process. I love having those in-depth discussions about the interior of their character, and actors really love to discuss that too.

I have very strong relationships with my actors when I'm shooting. When you love an actor's work, you always feel you have to go further, and you make several films together. One film just gives you time to get acquainted.

Look at films like 'Raazi,' 'Manikarnika: The Queen of Jhansi' and 'Padmaavat'... women in our film industry have changed the whole scenario. They are no less than our male actors.

People in LA seem to have no concept of the time outside of their city. I've been trained for thirty years in the film industry of having whether its agents, lawyers, actors, or whoever calling up all night.

I have great respect for actors like Jodie Foster and Natalie Portman who went to school the entire time they were acting. All I did was one small little independent film, and I realised I couldn't balance both lives.

My heroes are Bill Murray and Dustin Hoffman. Those are the two actors that both do comedies and dramas, seamlessly. Also John C. Reilly and Philip Seymour Hoffman. They're all just great actors, neither comedic nor dramatic. They're just great actors.

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.

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.

When I made 'Hard Boiled,' I had no idea that it would be released to an international audience. I just wanted to make a film to team up my two favorite actors, Tony Leung and Chow Yun-Fat.

You can't create chemistry. In fact, the chemistry between two actors is for people to see, sense, and judge. The only thing we can do as actors is to come on board individually because we feel the same kind of passion for a script and for a director to cast us because he feels that, as actors, we'll do justice to that part.

Being able to work with Ridley Scott on this film is like being able to play on the Olympic team for actors.

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.

The actors I respect are the real character actors, who are the real chameleon actors that completely change from role to role. I love Peter Sellers, Alec Guinness and Gary Oldman. They tend to be British, I guess. People who really disappear and transform, I really like that.

Over the years, I have realized that there's more to a film's fate than just good acting and a solid script. It needs to be marketed well. It's the package that sells - the songs, action, actors, etc.

Who are these people who are taking these decisions of casting only young actors in films? It is the filmmakers and the film producers. I don't know if that is what the audience wants because I really believe that masses respond to a good story.

I would never suggest that the geography or visual environment of the film is more important than what's going on with the people, but it's a major factor in getting the right tone. Certainly, it influences the actors tremendously.

A producer wouldn't think of making a film about ballet dancers without using real dancers, but they will cast actors who have never held a bat in baseball films.

To me if there's an achievement to lighting and photography in a film it's because nothing stands out, it all works as a piece. And you feel that these actors are in this situation and the audience is not thrown by a pretty picture or by bad lighting.

On a film set, everything's done for you. You get to a stage where you can't even remember the last time you made yourself a sandwich. The crazy thing is that, as actors, we're trying to portray the human condition, but we're often not living in reality.

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.

Any advice I could give to female directors would be the same as for males: There will be endless difficulties, some seemingly defeating, on your way. That's a given. Just wipe out the very notion of stress. Concentrate on your actors. Obsess about your story and the world it is anchored in. Deal with the hundreds of down-to-earth issues [around] the existence of your film. At some point, everything will be ripe. And you wouldn't be able to stop your film from coming to life even if you wanted to.

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.

Look at how many great actors or entertainers have been lost to the world because they did a performance one night and that was it. With film, you capture that, it's shown all over the world and it's there forever.

There are actors who spend 20 years working and still don't achieve what I've achieved so quickly. So I think my only course of action is to work as hard as I can, not just for the sake of the film, but also to prove to these people that I do have talent.

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.

I love directing because you get to see your film come to life. You get to work with the actors. There's something magical about each piece of it.

If based on popularity, people will come to theaters because of my name, then I would be very happy, but it isn't about Daisy, it is about the director and the film and the co-actors.

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.

I would hate to be thrust into the middle of a big film and not deliver. There's young actors and they're put into these central roles and they're commanding armies - but they can't quite pull it off. I'd much rather do it in small steps and build it from there.

To be honest with you, there's nothing that bores me more than sitting around with a bunch of actors talking shop. I love actors and I've got friends that are actors. They're interesting people. But for some reason, usually when it comes round to talking shop, there's a part of me that doesn't like it.