Top 1200 Film Adaptations Quotes & Sayings - Page 17

You also convert real memories, whatever that means, into film versions of those memories. Because by the time you've finished the project you can't remember the real memories anymore, you just remember the film versions of them. And then if the film failed you have distaste for them. So I don't think about that stuff anymore.

There's a different film being made in every mind. And of course, the star of the film is the mind, the personality, the self.

You can be moved by an animated film and not by a live action film. There could be great inspiration in and humanity in that animated story.

No film survives because of a big name. If a film has to survive generations, it will survive on its content and craft.

Short film: you can be poetic and you don't have to answer anything. You can make whatever you want. You have creative freedom with short film.

I prefer film to TV because of the amount of time film affords you that TV doesn't (though theater is probably my favorite and the scariest place of all).

I love Brooke Shields. She's developed into a wonderful actress and a wonderful person. We were all babies then in Brenda Starr. That's why when people say, "What did you think of that film?" I can't do what people do and say, "I hated it." I can't speak ill of a film, because it's so hard to make a film. Everybody thinks we're sitting by a pool peeling grapes, and this is not the case. It's hard. It's hard to do this stuff - and getting harder!

'Sairat' is a film I absolutely loved. I have great regard for the movie and its film-maker. The movie blew my mind.

I don't believe in inspiration that arrives like a bolt from the blue ... It seems to me that the more motivated I am by what I film, the more objectively I film.

The only obligation you have as a film-maker is to tell your version of the truth and to use your film to illuminate reality. Whatever that means.

There hadn't been one done since the late 70s. I was living in Brooklyn, had no connection to Roger Corman, to no one in this movie. I didn't go to film school. I'm like the person who should have never made this film. But I just decided to put one foot in front of the other. I was writing film articles for magazines at the time. I convinced an editor from one of the magazines that I was working for to give me a shot to do a piece on Roger. This was an excuse to go meet him.

Superstar,' my first Gujarati film is a game changer for the Gujarati film industry. When I saw it on the big screen, I had goosebumps.

Everybody who worked in film misses holding pieces of film, holding it up to the light, and seeing exactly where something was image-wise.

It has to be 'The Piano' by Jane Campion. It inspired me to pursue my dream to direct. It is not just my favorite woman-directed film - it is my favorite film.

My family believes in a good script and ultimately everything that is attached to it. I am more interested in a hit film than a good film.

I think they should make it a felony to criticise a film product. Particularly my film product. It's anti-American.

After film school, I would write 8 hours a day on film and 8 hours a night on TV, and then sleep once and a while.

When you tell a film financier that you want to do a Shakespeare film, their face drops. Shakespeare films don't have a very wonderful history at the box office.

If somebody feels that a certain recreation fits into their film or a particular song fits into the film, I think that is the reason those songs are picked.

My first film festival and my first film that I've ever been in, 'Martha Marcy May Marlene,' that was at Sundance.

I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.

We had a hodgepodge of footage. We didn't film [in Dream of Life ]all the time - we would just film periodically, so nothing was synced and nothing was slated.

I'm not a writer. I think I can write short stories and poetry, but film writing, brilliant film writing, is a talent - you can't just do it like that.

Early on everyone should do, every time they do a big film, they should do a little film. It really does keep you grounded.

It's hard to make a living doing documentaries. Frankly, if it takes you five years to do a film, and that's the only film you're doing, you're in trouble.

Reservoir Dogs is a small film, and part of its charm was that it was a small film. I'd probably make it for $3 million now so I'd have more breathing room.

Loving a film is like falling in love with a woman or with a man like you never expect it. It it's not the one you think you will be in love with, you know. You think always that he will be with a beard, and black, and big and finally he's Chinese and you know it's the same thing. There's something very organic about the film and if you forgot it, if you don't have this seed in it...this organic flavor in it the film doesn't work it's wrong.

When I make a film, I never want the film to become a vehicle of social propaganda. If I wanted to do that, I'd make documentaries.

If one horror film hits, everyone says, 'Let's go make a horror film.' It's the genre that never dies.

For my first Hollywood film, I really didn't want to be doing a film where I'm looking like a stooge with fake snakes that look like socks.

Instead of doing a B or C grade Hindi film, I would much rather do an A grade regional language film.

We don't have a lot of narrative on TV or film, mainstream film, of brown queers. Latina queers, I can't think of that many.

I never feel that because of my presence a film will taste success. A film's success or failure does not totally depend on me.

I like to go back and forth between film and theater. When I do film, I miss theater and vice versa.

Film-makers in Belgium are seen as arts and crafts makers. It is a small country. There is not really a film industry there at all.

I did my first film Junglee and it became a hit. That film was the first one to bring the real colour on the big screen, which was Eastmancolor.

It's hard to see a film one time and really "get it," and write fully and intelligently about it. That's a review. That's not film criticism. And there's so many expectations involved, too. You're going in to see the latest Martin Scorsese or Stanley Kubrick film, you really have high hopes, and you can't help but find that it's not exactly what you had in your head going in. Until you can watch it again, you can't accept the work for what it intends to be. It takes at least a second viewing.

The motion picture is like journalism in that, more than any of the other arts, it confers celebrity. Not just on people - on acts, and objects, and places, and ways of life. The camera brings a kind of stardom to them all. I therefore doubt that film can ever argue effectively against its own material: that a genuine antiwar film, say, can be made on the basis of even the ugliest battle scenes ... No matter what filmmakers intend, film always argues yes.

I teach film directing, inasmuch as you can. Its not really possible to teach film direction, but I sit there as a sort of testimony of experience and know-how, I suppose.

I'm aware that a film is different than a play, and that a film isn't going to be the filmed record of the play. It's its own separate entity, and I've come to peace with that.

Anyone who's made film and knows about the cinema has a lifelong love affair with the experience. You never stop learning about film.

'Bubba Ho-Tep' was an accidental story that turned out to be my first film adaptation, and it's still going strong in story and film.

It used to be that if you were on a sitcom you couldn't get work in film because it was so different. Now it's almost like you have to be on TV to do other film work.

Kenya doesn't have much of an infrastructure for hosting a film of this scale. Our producer decided that for the film to really work it had to be in Kenya.

Often with film, I find that you're just really getting to know a person. They're just starting to sink in, and then you wrap the film.

I'm a character actor but unlike a lot of character actors, I don't look radically different from film to film and there was a bunch of them at once.

I can look at something that others (might not) and I can see the value in it. I can make that film a film that everybody wants to see.

When you go to a film festival as an audience member, it's so much fun. But when you bring your own film there, you carry so much stress and excitement.

I went to Princeton to major in comparative literature. I never went to film school, but I studied storytelling across mediums - poems, literature, film, and journalism.

If one person doesn't like your film, if he's powerful, your film will never see the light of day.

We just constantly worked on second Saw film, it's not an Academy award level film, but we worked as hard we could to make it plausible.

I had signed a four-film contract at the time of the first 'Deadpool' film. So I always knew that I'd be working in the subsequent installments of 'Deadpool.'

Music will always be the heart and soul of a film, whether the film is star-driven or content-driven.

'100% Love' is not just a film I did; it actually changed me. The film made me confident.

I used to set out and do a film and say, 'This is going to be the biggest film I've ever done.' But that's not the right approach. The approach should be the work.

I'll definitely say that, before film school, I didn't have much of a film-history background. I didn't know much about classic cinema.

You need a pulse in a film. If I see a film that doesn't have rhythm, it's like listening to music that doesn't have rhythm; it doesn't really work.

Puerto Rico is beautiful. I mean, I love it. But it's hard to film here. It's hard to film an action movie here where you're outside, and you're running around all day.

I would love to do a film with a lot of humor in it: a comedy with pain instead of a painful film with some comedy.

As soon as you're at the higher levels of budgeting, you've got to get the film made, and the only way to support the film is to have actors who can support the budget.