Top 1200 Film Adaptations Quotes & Sayings - Page 18

Eventually, the outcome of a film is not in my hands. What I do while making the film is in my hands, and that is what translates onto the screen.

This worldwide spread of recognition is insane. I was brought up in a small country. If you made a Swedish film that just got into a film festival somewhere, that was like the biggest thing you could wish for.

Well, there's two things I have criteria for doing a film: The script, which is the story, and the filmmaker, and it's a filmmaker's medium. I like really strong directors, and so when I do a film, I'm out there to serve the director, really, which is in turn to serve the script, to serve the director cause he's the one making the film. I relied on Todd Haynes for that.

I auditioned equally for film and theater. The difference is that theater has seasons, while film, it's always happening.

It's good that they've seen it, but how can I be satisfied after working for two years making a film which I hope will make a difference, when the government sees the film and does nothing about it?

For anyone to say that The Rock made a bad decision in pursuing a film career, with the success that film career has garnered, is ill-advised.

Arguably, the Venice Film Festival is the second best film festival in the world, after Cannes.

I want to bring something different to every film. I get a bit tired of actors who kind of are the same character in every film that they do.

A film that can be described in words is not really a film.

In the film industry you work very long hours, and making a film is a very intense process.

When you're doing the work, film and TV are exactly the same. TV is just film in reduced pieces.

A good film demands its own score, and if you are a musician, your conscience will never allow you to do something mediocre for a good film.

Making a film, every film, is a big gamble, large or small. The more that you do it, the more you're aware of that.

One of the reasons I did this, because I wasn't really looking for another science fiction film, was that my daughter can see it. She's 9 and it's really a good film for all ages.

Film theory has nothing to do with film.

It occurred to me that by naming the film itself 'Dear White People,' I could tap into the burgeoning meme culture as well as make a meta-commentary about the controversies within the film.

I'd like to do a cowboy film. I suppose I've come close to it on occasion, but not really to a classic cowboy film.

I always cooperate to complete a film within the budget. Not a single film of mine has overshot its budget.

I do love doing stunts; I was in a film called 'The Quiet Ones,' which was quite a spooky film, and I had to be hung upside down, which was good.

I spent all of my money on film. I remember I would do these set-design jobs or transcribe or just anything to get, like, a $100 check and go immediately to Adorama and buy expired film.

I treasure the dark hours in a theatre. But I don't think that, if a film does not reach the theatre, it is, therefore, not a film.

Film is a collaborative art form. If you're not being collaborative, you probably shouldn't be working in film. You don't do it on your own. People who understand that, cultivate that, get the best results.

As a principle, I will never react to film criticisms. As long as they are part of film fraternity, whatever they say will be beneficial to cinema.

I used to be a die-hard defender of physical film, which I still am. I love shooting on physical film and I think it's great.

I used to hate doing color. I hated transparency film. The way I did color was by not wanting to know what kind of film was in my camera.

The ethos of most films is that you make a film, you exploit the community, you exploit the environment, and it's OK because you made a great film, you know?

I think that film is still an artform and it doesn't really matter if you're using a digital camera or a film camera.

'Beyond the Lights' was my fourth film. I gained a lot of knowledge, and I'm excited to share that with young filmmakers because I know how lost I was coming out of film school with that question of 'What's next?'

When a film does well, everyone is usually happy and grateful, but for me, the impression the film leaves upon my mind is created during the process of filming; my memories are not a reflection of critics' reviews and box office figures.

Every film is like a baby for me; it's like my own child. I feel protective and aggressive each time my film hit theatres.

It was a film that I knew, that I had seen, that I was familiar with, but I wasn't anxious about it at any point during the screening. I snoozed twice, and this is something I couldn't have imagined that I would feel detached, as I did with this film [Certified Copy].

It seemed like a wonderful honor to have the Film Society of Lincoln Center screen 'The Films of Raquel Welch.' It shows a lot of a variety in what they've chosen; it kind of runs the gamut of my film career.

If you don't have fun doing the film, then the results of the film will never give you any fun.

If I could film, we'd film every episode of 'Doctor Who' in New York. I have an affinity with the city. It has some wonderful locations and it is devastatingly vast and huge. Central Park looks amazing on camera.

TMOK' is a family film, and everyone would like to watch the film. I'll be very happy even if I get 50 to 65 per cent of the box-office opening that 'Ra.One' gets.

I would love to explore film seeing as I have prominently been on television. It would be nice to change it up and focus on film a little bit.

Whatever happens, happens for the better. I was meant to do 'Raabta.' Every film has its destiny, and it's the film that chooses you.

Every frame of every film is from a particular time. So, if you make a film in 2017, the times can't not have a bearing.

I think now that I've tried directing, I'm not interested in doing adaptations anymore. I could do an adaptation of someone else's work that I would write, but the idea of taking someone else's material entirely doesn't interest me. One of the things that I found really helpful, at least in my mind - and I've never discussed this with the actors or with the people I work with - is that being a neophyte in directing, I feel like I have a kind of authority simply because I'm the writer as well.

As for direction, I definitely do not have the patience or the resilience to make a film. Directing a film is very, very hard.

I'm not so sure that younger people today really appreciate the enormous bravery that went into the creation and production of that film, or how important a film at the time it really was.

I might do a film someday for the collection. I love designing sets and creating environments, in film school and for my own presentations. I love telling stories.

I like the variety. But basically my choice of films is a small intimate film. Quiet film, no action, just people in relationships. That's what I like the most.

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

If were were in a film, the villain would turn out to be the least-expected person. But as we aren't in a film, I'd go for the character who tried to strangle you.

I have a film out called 'Nobel.' Film is something I would love to explore more, even though I love being on the stage.

The kind of sleep that I had during my own film [Certified Copy] screening in Cannes is different. It's not because of the specificity of the film. It was because of my relationship as an author to this film. Usually when I take my films to festivals, I feel incredibly anxious about them. I wonder how it will be received, how the audience will react. I feel deeply responsible for them. Whereas this time, I didn't have that responsibility on my shoulders.

My experience of children on a film set, especially on a big film set like the 'Potter' one, is not wholly positive.

There's a documentary film-maker called Werner Herzog, who's a German film-maker. I really dig his stuff, I'd love to chat with him.

In my heart of hearts, I love theatre. It's the joy and terror of putting a play on, the creativity of it. It is infinitely harder than film and television and more tiring. Your performance is heightened in the way it isn't with film.

People will watch your film only if it's good. Another star's flop won't make your film a hit. So my race is with myself.

More than comparing with somebody else, I'd prefer comparing my own work from film to film.

That's the greatest sin a director can commit; to make a film simply because he wants to make a film.

There was a film class in my high school in Northfield, Minnesota, which was very unusual. I saw my first Buster Keaton film there, aged about 15. It made a gigantic impression on me.

You would be surprised of films that people just don't see. You know what I mean? I'm always working and I'm a film buff but I'm an old school film buff.

I used to be a film and music journalist, and wrote for different magazines in the 1990s. I still love music, but the experience destroyed my enthusiasm for film.

Instead of saying 'unique,' I will say 'Kattappava Kaanom' is a very special and lucky film for me because I got the chance to step into Hindi film industry when I was in the shoot of this movie.

I knew I wanted to be a performer, but I didn't know I would specifically be in film. I actually never thought I would be in film. I always envisioned being on the stage.

'W.' is not necessarily a political film, but it was sort of a contrasting reality for me to get into George W. Bush as a character because of how I felt about his administration before I started making the film.

A film is a film, and shouldn't be defined by language.