Top 1200 Film Adaptations Quotes & Sayings

When working on a period, it is the finer details that evoke imagery that helps in cinematic adaptations.

I see only adaptations - not revolutions.

I could never be a part of an adaptation of a film where there's pressure to not disappoint the immense fan base. In those cases, they often wind up with filmed books on tape, quite uncinematic. Having said that, I'd say all the adaptations I've done are quite faithful to the original... You have to pick and choose which storylines and plot threads, because you don't have the time to kill in the film as they have in novels. All those pages with detours and plots and different storylines. But films add a lot, and you gotta keep it moving.

As the trunk is one but the branches are many, yoga is one but adaptations may vary.

My adaptations are just as complicated as an original.

The landscape of cinema is not original. Not to say there aren't great movies being made, but it's much easier for studios to make movies that have built-in audiences. So it's all remakes, adaptations, a lot of remakes of adaptations.

I adore doing classic adaptations, but I also feel their frustrations and their limitations.

My main point about films is that I don't like the adaptation process, and I particularly don't like the modern way of comic book-film adaptations, where, essentially, the central characters are just franchises that can be worked endlessly to no apparent point.

I actually got a nice surprise about being a mother because I expected it to be harder and to have to make more adaptations.

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.

Most adaptations of plays I hate, because they don't envision something as cinema at all, you know?

Writing has certain advantages; film is another way to tell a story. An experienced filmmaker will take what she needs from the book and leave out other things. With adaptations, you never get the texture of the writing: it's a different mode.

Most films are rooted in a book or a comic strip, but I don't go out there saying I want to do adaptations.

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.

Oftentimes when you see adaptations of books you like, you're let down. As an author, you assume that they are going to suck. A little bit of hope is dangerous.

The more I study nature, the more I become impressed with ever-increasing force with the conclusion, that the contrivances and beautiful adaptations slowly acquired through each part occasionally varying in a slight degree but in many ways, with the preservation or natural selection of those variations which are beneficial to the organism under the complex and ever-varying conditions of life, transcend in an incomparable degree the contrivances and adaptations which the most fertile imagination of man could suggest with unlimited time at his disposal.

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.

Once we start seeing video games that have more memorable characters, you'll see better movie adaptations.

...we must be wary of granting too much power to natural selection by viewing all basic capacities of our brain as direct adaptations.

Everybody says video-game adaptations are all the same, but I disagree. Normally, video-game adaptations are like Alone In The Dark, Resident Evil, Alien Vs. Predator - sci-fi creature stuff. But I think I've covered] a wide range of genres and time periods, like Transylvania in 1700 and now a Western with BlodRayne II, or adventure with Dungeon Siege, or comedy and satire with Postal.

The proof of evolution lies in those adaptations that arise from improbable foundations.

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

Most writers are unhappy with film adaptations of their work, and rightly so. 'Field of Dreams,' however, caught the spirit and essence of 'Shoeless Joe' while making the necessary changes to make the work more visual.

Awful film adaptations follow novelists for the rest of their lives. An atrocious movie of 'We Need to Talk About Kevin' could have stigmatised the book, aggrieved the novel's fans, and blighted my reputation forever.

It was 1978 when Superman came out, and I kept thinking, Why don't they do something about it? They've done all these crappy attempts at comic book film adaptations. What can we do different? Why don't we just re-release this thing?

I adore book-to-film adaptations when they're done well, and I'm more lenient than many readers when it comes to what counts as 'done well.' For me, the most important thing is that the film maintains the spirit of the original book.

A lot of period pieces we see are adaptations of novels - we always know the story.

'Noah' doesn't merely get the story wrong; like all Biblical adaptations, it's bound to do that (although some aspects of the film are out and out ridiculous). It gets the morality of the story wrong, and in the process turns God into Gaia and morality into radical deep green environmentalism.

One of the more problematic aspects of the current state of cinema in Japan is that the movies playing in the theaters are by and large made not by film studios but by broadcasting companies. They're either extensions of popular television dramas or adaptations of manga or anime. Younger Japanese are simply not being exposed to good films. That situation needs to change.

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 Analytical Engine might act upon other things besides number, were objects found whose mutual fundamental relations could be expressed by those of the abstract science of operations, and which should be also susceptible of adaptations to the action of the operating notation and mechanism of the engine… Supposing, for instance, that the fundamental relations of pitched sounds in the science of harmony and of musical composition were susceptible of such expression and adaptations, the engine might compose elaborate and scientific pieces of music of any degree of complexity or extent.

I really enjoy working on adaptations.

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.

Short stories can make for really good adaptations.

Adaptations, especially movie musicals, are really hard to do.

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.

Our common law is the stock instance of a combination of custom and its successive adaptations.

Characters, conflict and geography are things that must be considered while making movies from adaptations.

People have these ideas about comic books and their adaptations as flashy and sort of surface-y, broad-strokes-type projects, but they're not, really.

Curiously enough man's body and his mind appear to differ in their climatic adaptations.

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.

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.

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.

Fortunately, both television adaptations and the film I've been involved with are pieces of work that I'm proud of, so I'm very happy for people to focus on them.

Serious writers pretend they don't care about film adaptations of their work, but it's a colossal lie: We all care.

When answering questions over the years about film and TV adaptations of my books, I have always maintained that no movie or TV series could ever change or damage my work.

'The Cherry Orchard' is a masterpiece, and there can never be too many adaptations.

Writers who want to interfere with adaptations of their work are basically undemocratic. The book still stands as an entity on its own.

The human brain is generally regarded as a complex web of adaptations built into the nervous system, even though no one knows how.

In 1916, Universal Studios released the first filmed adaptation of Jules Verne's novel '20,000 Leagues Under the Sea.' Georges Melies made a film by that name in 1907, but, unlike his earlier adaptations of Verne, Melies' version bears no resemblance to the book.

Each Passover, I prepare all sorts of fancy desserts for my family and friends, often experimenting with adaptations of sophisticated modern fare.

The fuel for evolution is diversity, with natural selection leading to continuous adaptations and improvements in Nature's handiwork.

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.

Like springs, adaptations can only go downhill.

Every time you recall a memory, you're basically making another copy of it and, at that same point, it is susceptible to new changes and adaptations.

Almost all the movies I've directed are adaptations. And I think what I found when I went to film school, where they try to push you to find your voice or your thing, is that I got a lot of things out of adaptations.

Endless Jane Austen film adaptations have given us the idea that the Regency was a classy, pretty, palatable period of history. Notable for their muslins, tea parties and flirting, you'd think that most Regency folk lived in highly desirable rectories.

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.

Yesterday's adaptations are today's routines.

The movie adaptations of stage musicals that I've seen, without exception, in my opinion don't work. A lot of people would disagree with me.