Top 1200 Film Adaptations Quotes & Sayings - Page 16

Explore popular Film Adaptations quotes.
Last updated on October 27, 2024.
A good project but a poor director will always make a mediocre film, but an average script and good director can make a good film, as he will put in everything to make the film look good.
Working as an AD and producer prepares you in the sense that you know what you have to do to make a film. But nothing prepares you for your first film.
Any actor will want his 100th film to be a commercial film, the biggest movie of his career. — © Raghava Lawrence
Any actor will want his 100th film to be a commercial film, the biggest movie of his career.
I like the movie 'Das Boot,' the German film made in the '80s. I found out it was a series that was made into a film for the U.S.
When I see films made from books, I make a huge effort not to remember the book. It's important to see the film as a film.
I'm just one of those people that if I sit down to watch a horror film, I put my hands over my face and I cry a lot and I don't see half of the film because I'm too upset.
I'm not a film star, I am an actress. Being a film star is such a false life, lived for fake values and for publicity.
It's very important that a film that intends to play tricks on the audience... has to play fair with the audience. For me, any time you're going to have a reveal in the film, it's essential that it have been shown to the audience as much as possible. What that means is that some people are going to figure it out very early on. Other people not til the end. Everybody watches the film differently.
But I won't work with the exact same crew film after film because I feel the work would get a little complacent.
Film work can be very interesting, but it also can be awfully boring because who creates the film? The actors? No. It is the director. It's his piece of work.
I think it is always a long shot getting a book made into a film. Making that book into a film is going to be quite a challenge.
Perhaps I shall not write my account of the Paleolithic at all, but make a film of it. A silent film at that, in which I shall show you first the great slumbering rocks of the Cambrian period, and move from those to the mountains of Wales...from Ordovician to Devonian, on the lush glowing Cotswolds, on to the white cliffs of Dover... An impressionistic, dreaming film, in which the folded rocks arise and flower and grow and become Salisbury Cathedral and York Minster.
I am not going to do a film based on a bad scenario just to make a big Hollywood film or work with Hollywood stars. — © Park Chan-wook
I am not going to do a film based on a bad scenario just to make a big Hollywood film or work with Hollywood stars.
Film has a magical process to it. The dailies, and the thing you see on your little film monitor, that's not the same thing that's going to be projected.
If I was ever gonna remake a Peckinpah film, it would be 'Bring Me The Head of Alfredo Garcia.' That's my favorite Peckinpah film.
I was always into film, but theater was my entry point. I always felt like film didn't make sense to me, as a kid.
For me, the aim of making any film like this, any film about an artist, would be to send you back to the art.
I think, to go to the bottom of it all, that the films I have made and my kind of film-making is a hybrid type of film-making - in that it isn't American, it isn't Italian.
If you're an artist, it's OK to put your money into your art. The advantage, in hindsight, is that you become the film, and the film becomes you; you breathe it.
When you're in the process of becoming an actor, you think that you just need to get that one film. But once you get that one film, the stress increases.
I had a film career in the late 90s. And then I stopped having a film career because suddenly I didn't do anything.
Argentina is a bit tough to people. You don't embrace genre film in general. They are more like, in the film community, a bit snobby.
I may have got a little carried away and many critics found fault with some aspects of the film, but as a coming of age film of a character, 'Vaaranam Ayiram' worked with the audience.
All films are learning processes. I am still trying to work out how you make a movie. I didn't study at film school or any of those things. I didn't bother with film theory.
I thought 'Deliverance' was a very good film. But it didn't have the success financially that 'Smokey and the Bandit' did, although that film made more money than 'Star Wars' in the first week.
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.
I'm not a film star; I am an actress. Being a film star is such a false life, lived for fake values and for publicity.
I prefer to make a film that people have a really intense reaction to than have a film that people feel ambivalent about.
I did a film called 'Black Dynamite' that was very, very funny. That seems to be a film that's kind of a cult classic.
When I make a film - I direct my own film, I write my own script - that's what I want to hear from the audience. 'Oh, thank you, Jackie!'
I'm fascinated by film scores, especially film scores for children's movies because they have to be able to entertain an audience that isn't interested in music yet.
The only difference between working on a huge-budget film and a lesser-budget film, is the quality of lunch and dinner.
I think with a lot of filmmakers, their first film is their best film because they had to think on their feet and solve problems with ingenuity.
I never thought I would debut in a Telugu film; it was my destiny to take up a film that, incidentally, was about destiny.
Vijay Sethupathi looks a film as a film. He never looks at what kind image he is going to get out of the character.
The problem when you edit a film together, when you shoot a film, you are drawn into the moment. You want each moment to be special and full of life.
If it's a choice between doing a film and not doing a film, I'd rather not. But then, you remember that you're supposed to be earning a living and that it's your career.
Is there something in druggy subjects that encourages directors to make imitation film noir? Film noir itself becomes an addiction. — © Pauline Kael
Is there something in druggy subjects that encourages directors to make imitation film noir? Film noir itself becomes an addiction.
If you are going to do a film about the South Pole, the chances are that you will film it in Hawaii! Whatever is most difficult, you will get to do it.
He considers the theatrical version of Fanny and Alexander an amputated version of what his original film was, and he doesn't really like the shorter film.
I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.
Watching yourself on film, if you've never watched yourself on film before, you want to go crawl into bed and stay there for a week.
I think you get out of film school what you put into it. If you don't care about making movies, film school will do you no good.
I couldn't be happier starting 2019 with this film 'Haathi Mere Saathi.' It's the first time that I am doing a trilingual film which I'm excited about. It will be my Tamil and Telugu debut.
When I write a film, the film gets handed off to a producer and a director and I go my merry way. With television, I am expected and contracted to stick around and actually produce what I've written.
When you are a part of an all ensemble kind of thing, with many composers in one film, you get the freedom to work on one, or maybe two songs, and experiment without thinking too much about the film.
Any time there is a film in a 'foreign language,' in Spanish or Korean or whatever language, it's usually not an American film. It's usually from another country.
Honestly, there are so many things about structuring a story for film and telling a story for film that are really different from doing radio. — © Ira Glass
Honestly, there are so many things about structuring a story for film and telling a story for film that are really different from doing radio.
I just lucked into this weird, little obscure cameoesque film career. I just love being a part of film history.
There's no need to make any film. The word 'need' is pretty strong. But if there's a purpose behind making the film, there can be a justification for it.
When we made the original 'Dhoom,' we wanted to make a film that would not bore us and wanted it to be just a breezy cool film.
'Saw,' in many ways, was like my student film. The first crappy student film you don't really want people to see.
I hope I've made a good film. And before you ask, a good film is one that I'd see three years from now and not cringe.
I think it's important that your first film be your worst film, that one's life trajectory should go up.
If you look at my career, I have already proved that after a big action film like 'Chatrapati,' I could do a cool film like 'Darling.'
With Fever, the film was so made for the screen, and there's so much surround sound that was done for the film - enormous detail paid to that. I wasn't thinking video, because I didn't know how it was going to turn out.
For me, as an actor, going from TV to film was interesting because TV and film are two very different things.
In the south, whether it is a small film or a big film, everybody sees it. So, there is always something for everybody to come, see, and enjoy.
If I am not able to go to theaters confidently and watch a film then I don't expect people to watch my film also.
In any art movement, the art has to move into a new phase - a filmmaker has a desire to make a film that is not like a previous film.
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