Top 1200 Film Business Quotes & Sayings - Page 15

For the regional film industry, it's a great feeling that a Dev film is being seen as a competition to a Salman movie.

The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.

I'd rather have a small part in a big film or good story than do a solo film just for the sake of it.

A gem of a short film has a sense of pure joy in animation that is different from anything you see in a feature film.

When art in general, and film in particular, succeeds is when it pulls you away onto a voyage. Then it's a good film.

I'm feeling like the music business is reaping what it's sown. It's going through what inevitably it was going to go through. It was a very decadent, very glamorous business that took advantage of a lot of people for a long time and didn't do things right and had a poor business model.

I'm not sure if I want to direct a film, but certainly, as an actress, I'm always thinking, 'Surely this must be my last film.'

I think it remains a film-by-film process, and since I am relatively selective and slow, it can take a while.

If it's a good work of adaptation, the book should remain a book and the film should remain a film, and you should not necessarily read the book to see the film. If you do need that, then that means that it's a failure. That is what I think.

I'm really into acquiring film paraphernalia - that's my hobby. I love old movie posters, cameras and film reels.

Film was something I didn't really think about when I was young, because if you looked like me, you weren't a film star.

Being horrible in a big film is a quicker nosedive than doing an obscure film and making no money.

Once the censorship board clears a film, there should not be any other obstacle for a film's theatrical run.

Every time you jump to another format in the 'picture business,' meaning film, television, commercials, the people in the other format go, 'Ah, yeah, you made a lot of features, but you don't know how to do TV' or the commercial people go, 'Oh, you can't do 30 seconds.'

It's extremely difficult and very challenging to be a woman in film and television. Just showing up in this business forces you to know yourself. But I learned how to deal with rejection and get tough when I was working as a model - it taught me how to put myself out there. In a way, my time modelling was a preparation for life.

To think of a film from the point of view of a tank barrel is already so inhumanly positioned. This is when film can reveal itself scandalously.

Each film has its own fate, and you can't go through personal emotions based on the highs and lows of a film.

I long to make films. I'm dying to be inside the next film. I always hope there will be another film.

I made a French film called "Merry Christmas" which is a very European film. It's a World War I piece.

If you need to get in physical shape for a film and you have to maintain that for six months, at the start of the film, I was never able to do it.

'The Missing Picture' is about my story and my parents. Before this film, I never said 'I' in a film, so it is very personal.

Our feature film, 'Crouching Tiger, Hidden Dragon Two,' has a built-in fan base from the original film.

I have been working on one film at a time. One film recovers a little cost and that helps me move on to the next one.

Football is not merely a small business, it's also a bad one. Anyone who spends any time inside football soon discovers that just as oil is part of the oil business, stupidity is part of the football business.

The essence of a good investment manager is one who studies a given business and extrapolates the future cash flows that the business is likely to generate over the next several years. Based on the cash flow and asset assessment, they can then arrive at their expected rate of return if they bought a fraction of that business at a given price.

Business owners are like joggers. If you stop a jogger, he goes on running on the spot. If you drag an owner away from his business, he goes on running on the spot, pawing the ground, talking business. He never stops hurtling onwards, making decisions and executing them.

Because a composer's soul goes into a film, they should do the entire film, even the background score. If not, then don't do it.

In an action film, you think of things that are almost impossible to do and yet you have to manage to show them as being possible on film.

I think the idea was to make a horror film that became a science-fiction film with a lot of melodramatic tropes.

The basic idea of making this film was that even if one person is touched by the thought in the film, then my job as a storyteller is done.

I have always believed that if a film has only two characters, but they do not make any sense, then the film's meaningless.

I got into film school thinking I was going to make features, like every other film geek.

I'm still not ready to come back and 'And Once Again' is just a one-off film that I'm doing. It's not my comeback film.

Look, I'm just a storyteller. When I make a film, I never want the film to become a vehicle of social propaganda.

The life of a film is very strange. Once the film is done, you wish you could forget about it and move on.

The prime motivation in making almost any film is success, because film is the art form of the 20th century.

After my first film, I was having trouble finding a second film. I had a lot of attempts that failed.

If you go to see a film with a woman you love, then even if the film is bad, you can hold hands and laugh at it.

For years, people have been trying to talk to me about doing a show, and I wouldn't do one because I'm a serious business guy. I'm not going to do a stupid show. So, the opportunity came up with CNBC, and we started talking. It became a real business show. It's educational, people watch it, and it's great for small business.

There's two aspects of film crafting that I'm very strict about, and that's how I move my camera and where I cut the film.

I did a few documentaries as co-director and cameraman. I started off shooting a film about the war in Rhodesia. Then I did a film about an 'around the world' yacht race with a friend, and we spent nine months on a yacht. The film was about how people get on in confined spaces under extreme stress.

I was delighted with the film [Payback: Debt and the Shadow Side of Wealth]; it almost made me want to be a film-maker!

I have always thought if you are going to make a film, it's much better to have an original script that will play to film's strengths.

In Hollywood, they make movies like they make washing machines. It's a business. In Europe, the films are considered art. No producer would ever tell a director where to cut a film or how to re-write the script. I love Hollywood, but all of the time I have to go back to Europe.

A film like 'Good Night And Good Luck,' you make that for $7 million because you know it's a black-and-white film, and it's not an easy sell. If you make it for $7 million, then everybody can have a chance to make a little bit of money, and you get to make the film you want to make.

Let's be honest. There's not a business anywhere that is without problems. Business is complicated and imperfect. Every business everywhere is staffed with imperfect human beings and exists by providing a product or service to other imperfect human beings.

In a film, there are too many characters. If the film is not a hit, then nobody really notices your work.

When I take up a film, I always think of the effect it will have on my children when they see the film years later.

The Limits Of Control is not surrealism, but it is an experiment in which expectations are deliberately removed: expectations for narrative form, for action in a film, for certain emotional content. We wanted to remove those things and see if we could still make a film that was a beautiful film experience, with deliberately removing things many people would expect.

When you are acting in a film, you are only worried about your performance and how the film will shape up.

Independent film is almost nonexistent right now, because all the distributers that used to love to put out these little art films are all out of business right now, because it costs so much to open a movie.

Some people have told me they remember the film that one of my images is derived from, but in fact I had no film in mind at all.

My partners are Gourov Dasgupta and Roshan Balu. Together, we're 'Superbia'. I've already signed some film and non-film assignments.

Now because the film industry is what it is, if people are expecting a certain film genre and they're not getting it, there are howls of outrage.

Basically, actors arrive in a bubble. They have a little sealed bubble around them and it's basically [comprised of] their agents, their last film, their next film, their press agent, and their per diems - all these things, they cocoon themselves with and you have to puncture that bubble on each of them to make them be in your film.

I was raised by the last of the Gorgeous George era. You don't let somebody come from some other business, walk in your business, make a fool of ya and go back into his business and laugh at ya. So if you watch Wrestlemania the very first one, I was the general and here was the rule: don't let Mr. T throw a punch; keep it strictly amateur with him.

Regardless of what film you make, you want people to watch your film, and you ultimately need commercial success.

I think that film festivals, we're very often given to understand, are about filmmakers and about films and about the industry of filmmaking. I don't believe that they are, I believe that film festivals are about film audiences, and about giving an audience the encouragement to feel really empowered and to stretch the elastic of their taste.

How can you work in film and still see the overt racism that exists in film and not just be furious all the time?

Up until then, whenever anyone had mentioned the possibility of making a film adaptation, my answer had always been, ‘No, I’m not interested.’ I believe that each reader creates his own film inside his head, gives faces to the characters, constructs every scene, hears the voices, smells the smells. And that is why, whenever a reader goes to see a film based on a novel that he likes, he leaves feeling disappointed, saying: ‘the book is so much better than the film.