Top 1200 Film Adaptations Quotes & Sayings - Page 3

Whenever you get game adaptations, it strikes me that it's always the gamers who get mugged because they try and make it for everyone else first and the actual gamers last.

Phantom Films is an established production house and it will help to spread awareness about the documentary film 'Katiyabaaz' among the audience. I saw this film and I loved it. Then we decided to support this film.

The curse of comic book adaptations, when I was younger, was that the director or producer would go, "Don't worry about it, it's just a comic book."

Every single Pixar film, at one time or another, has been the worst movie ever put on film. But we know. We trust our process. We don't get scared and say, 'Oh, no, this film isn't working.'

In terms of screenwriting adaptations it's trying to cut out stuff that's extraneous, without doing damage to the original piece, because you owe a debt of some respect to the original author. That's why it was bought.

As I talk to film students now especially, I say, "The easiest job you'll ever get is to try to make your first film." That's the easy one to get, is the first film because nobody knows whether you can make a film or not.

As far as 'Birdsong' is concerned, I think the television program made a very honorable attempt at it, but the truth of the matter is that adaptations of long, ambitious books very seldom transfer well to the screen, and why would they?

I want to write a score for a film. It can be a proper film, maybe for a film kind of like... I saw that movie 'Drive', or a bit of a 'Blade Runner' vibe. A little bit sci-fi, but I don't know. I've just always wanted to write a score for a film.

I'd say for a film composer, 'Star Wars' is kind of like the holy grail of film music. It's probably the best film music ever written.

Film students should stay as far away from film schools and film teachers as possible. The only school for the cinema is the cinema.

Some of us have great original ideas and some of us depend on adaptations.

When I met Bono at the Cannes Film festival while I was there for the film 'United 93,' he said to me, 'That's a great film, brother. Thank you for your courage in making it.' I plotzed.

We're facing enormous changes in our planetary life, with climate change and the adaptations that all natural systems are going to have to make to these climate changes, and so it's extremely important to bear witness to what's happening.

Major film stars tend to do a film and then have a couple of months off. I'm not a major film star; I'm a jobbing actor.

I would say that no film is apolitical. There are politics in all films. Any film that is anchored in a society, any film that deals with humanity is necessarily political.

Unless man can make new and original adaptations to his environment as rapidly as his science can change the environment, our culture will perish.

There are few teachers from the film industry to guide newcomers. One can see a gap between the film industry and those teaching at film schools.

I shot film with the Coen brothers on 'Hail, Caesar!' That's fine. I'm sentimental about film; I've shot film for forty years or something.

I've always been real close to film world. I love film, and I will do things in film, but music is more satisfying. It feels more like me.

I've done my share of period stuff. I'm not sure why, but people say I have a period face. The bread and butter of British TV is Jane Austen adaptations and bridges and bonnets and boats and horses.

What you hear mostly people gripe about adaptations is, 'They took out this scene,' or, 'They had to condense these characters.' I understand why they have to do that. But if you had a favorite character, and now they've been melded together with another one, it's disappointing.

One must go for a film with an open mind; a film best impacts you when your mind is a blank page to the film.

All in all, I'd like to venture into film. Films are my staple diet, so I would love to be part of a feature film, independent film... it all just depends on the story and the people behind it, really.

For me, when I choose a script, I put my heart and soul into it, and that is exactly what I look for in a film. A good film is a good film. And if it's a bad film, irrespective of whether it's made 300 crores or 200 crores or any amount of money, it doesn't matter to me.

In Surojit's film, 'Pagol Hawar Bodol Din,' I am a villager. Victor Banerjee is also part of the film. The uniqueness of 'PHBD' is that the whole film is like a poem.

I guess my first digital movie was 'Tintin' because 'Tintin' has no film step. There is no intermediate film step. It's 100% digital animation, but as far as a live-action film, I'm still planning to shoot everything on film.

There is much appeal for me in Eastern religion, the little I know of it. And something thorny in me finds American adaptations of Buddhism terribly self-indulgent, silly, gooey in the way the English call "wet."

If you ask a filmmaker to analyse his own film, it would take three or four years to do that, honestly. Because when you make a film, you have to be convinced about it. You are married to that film for a year.

'Hudugaru' is a remake of the Tamil film 'Nadodigal.' The film is about what happens when relationships between friends or lovers is taken casually. The film will appeal to youngsters and families alike.

Film writing and concert writing are two very different things. In film writing I am serving the film and it tells you what to write. I have to stay within the parameters of the film. In writing concert music for the stage I can write anything I want and in this day and modern age rules can be broken.

I increasingly fear that nothing good can come of almost any adaptation, and obviously that's sweeping. There are a couple of adaptations that are perhaps as good or better than the original work. But the vast majority of them are pointless.

That's the process of making the film and it isn't until the world puts their eyes to it that you find out if it's creating any kind of connection at all. But every single film at some stage of the film I think, "I wonder what this is going to be?"

I've always believed that if you want to really try and make a great film, not a good film, but a great film, you have to take a lot of risks.

I loved American filmmakers when I was growing up. I didn't get to film school or anything. I was a very bad student. I just devoured film, but there was a point in my teens when I started to run a little film society.

(in the film "That's Entertainment!" - 1974) Thank God for film, it can capture a moment and hold it there forever. If anyone ever asks you: "Who were they?" or "What made them so good?" I think a reel of film answers that question.

I have gained a lot of confidence in my process of making films. It does't mean I'll make a successful film or even a good film, but I know how to make my film.

I think I've been quite lucky in that I haven't had to make too many changes to myself. Obviously, there have been adaptations and things that I've altered, but I haven't changed completely. I've stayed myself.

Whenever I finish a film, I feel that this is the worst film that I have made. This is bound to happen because while writing, directing and editing a film, I would have lived it 5000 times. Naturally, one tends to loose objectivity.

Every film for every actor is a make-or-break film. I believe every film has the power to break you or make you. So, an actor will treat every film like his last film. That's the way we need to work, and that's the way you can drum up that passion needed to do good work.

The premiere of Lynne Ramsay's film of 'We Need To Talk About Kevin' at the Cannes film festival provides an apt juncture at which to celebrate the miraculous power - not of film but of fiction. Lo, I have created a monster.

If you're going to make a film about rage in 2018, 2017... If you're going to make a film about revenge and anger, I feel like that has to be a film about women. I don't really want to watch a film about angry men. I've seen way too many of those.

Well I'm Superman, just not action. I'm kind of looking for something with a lot less action and more talking and listening. I also have a film that's premiering Vegas Film Festival, short film, directed by Joel Kelly, it's called Denial and it's a story, short film, 35 mm short film and it's about a man's struggle to choose between the woman of his dreams and his reality, so it's definitely different than Superman. So I'm really proud of that.

I think that what people abroad want from French film, inside French film becomes our worst fear, "Oh, another film about love!"

Even back when I played 'straight-ahead,' I mixed it up. I played some free-form, classical adaptations, solo flute stuff. It was New Age in its own way.

There are no large-scale original musicals being made right now. They're all Broadway adaptations and jukebox musicals or catalog musicals, and they just don't interest me as much.

Oh my God, I love UCLA so much. Their film school is great because it's unstructured, so there's a freedom to fail in there and just tell your story, and everybody makes a film. It's so important to have that freedom in film school because that's what you're there for: to learn and make a film.

I did a film which was considered an independent movie with Dustin Hoffman and Andy Garcia called Confidence, and that's the type of film I was willing to take a chance on that because of the caliber of people involved with the film.

I think that the campaign that Fox Searchlight has thrown for 'Sound of My Voice' honors the film's roots and the film's integrity, and I don't think it overwhelms the film at all.

I have done a lot of work in Hollywood myself. I worked in television for roughly 10 years, from the mid-'80s to mid-'90s. And I was on staff at a couple of shows. I did some feature films, including originals and adaptations.

The reason why Hollywood cranks out so many sequels and adaptations is because the audience is so overwhelmed with choices, the only way to get them in the theater is to give them something familiar.

My favorite film is "Meshes in the Afternoon," a short avant garde film directed by Maya Deren. This was the first film that I saw that was actually directed by a woman.

I got into film in an odd way - when I was 17 years old I participated in a Swedish film as an actor. I think every person at that age should get a role in a film, because during that time you want acceptance, and when you have a role in a film you become an important person. I think about that now, and that was my fantastic starting point.

'Toofan Singh' is a Punjabi film based on a terrorist. The Pahlaj led CBFC banned the film because according to them the film glorifies terrorism, and that might give a wrong message to today's youth. However, the film has been released in many countries, and has been received warmly. Unfortunately, it never saw the light of day in India.

The truth is 'Akaash Vani' was not a young film. The second half of the film was quite mature. It's unfortunate that not many people have seen the film, so I am still associated more with 'Youth Centric Films'.

It's a very good thing for students also to be exposed to people who aren't film students or film scholars but who work in the world of film.

I had many years where I just worked from film to film to film. And then all of a sudden I went: "Where did I put my bags down? Where's my little place I call home?"

Making comic adaptations means making a lot of choices - you need to adjust the pacing, the dialogue, and in this case, a lot of the cultural references.

I don't think a heroine-oriented film has the capacity to pull an audience like a hero-oriented film in any film industry.

There's a film you write, there's a film you shoot, and there's a film that you cut - and they're all different.

I'm a believer that people need to understand that filmmaking is not a perfect process for anybody. It is a process in which you find the film and the film finds you. And that is every film.