Top 1200 Film Business Quotes & Sayings - Page 4

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.

Due to the political nature of film, partisan film making, especially where the subject is close to the film makers hart, tend to be the norm, rather than the exception.

The reason I grew so fast in the supermarket business, without help of the banks in those days, was through my vendors. I convinced my vendors, the companies I was doing business with, if I did more business, they would do more business.

Everyone in my family is in the film business; I knew I wanted to be creative and it was important in my family to be artistic.

I waited for each film to become important for me. If I had no ideas for a film, I didn't do a film. So I made not that many films for fifty-four years of working.

My reason for getting into the film business was a Spider-Man comic called 'The Night Gwen Stacy Died' when I was a kid; it changed my life.

Hindi film industry makes film for the rest of the world. Tamil films are watched by Malay people. When a film is not bound by a language, why should an actor be?

A film is not a documentary. And what's wonderful about film is that it's a real provocation for people. I never, ever see film as being an absolute version of the truth.

There are just two questions to ask to attain success in business: First, "What business am I in?" Second, "How's business?"

The worst thing about the music business is the business part of it. Business has nothing whatever to do with writing, playing and performing.

When I started in the business, you did television, and then when you got lucky, you got a prestige project of a film.

Film can express things that computers never will. Film is a series of photographs separated by split seconds of darkness. Film is light and shadow.

When you lack a certain vitality in the film business, there's no hiding it. It's like you've had your limb chopped off. How do you hide the fact that you're missing an arm?

I personally, only work with people in my business who show excellence. I have a business, the business of enlightenment.

The more I work in the film business, the more I see that those guys, the directors, have the most fun on set.

On another level this film talks about that. We had tremendous freedom while making this film. We never thought about marketing. It wasn't a film made to sell merchandise or products or to reach millions of people around the world. It was a film made to say what I really felt.

The blessing that this film business has given me is that when I walk into a school I automatically have everyone's attention. They want to hear what the guy from 'Con Air' and 'Desperado' has to say.

I love to bring humour into my work. Because comedy is not a huge part of the art world. And big-business film takes itself very seriously.

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 took risks, and I did pay a price for it. I was made to answer because a 'Kaun' can't do business like a popcorn entertainer or a romantic film would do.

But in film you always watch situations or stories that you really have no relation to. A lot of times just because there's no personal connection doesn't mean you can't connect with the film or the characters in the film.

I don't really read 'business books,' and I didn't think 'The Paradox of Choice' was a business book. I'm very surprised and gratified that the business world thought it was one.

I pretty much believe that a film is a film and when an audience watches a film, they finish it.

I would have to say I might do some stuff, but it's the film that's appealing. I was raised on film. My musical experience is all via film, it's not from classical music.

I'd never read 'Prince Caspian'. I watched it and loved that film. Everybody was talking about its lack of success; its relative success in comparison to the other film. It's a great film. It deserved to do a lot better than it did. It's very difficult to make a film that will match up to the first.

When you look at me see the father, the awesome dad, the author, film director, business owner, champion, friend, Hufflepuff beast.

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?"

There was a lot of pressure on me when I signed 'Dilwale,' and though it did not do as well in India, overseas the business was crazy despite competition from another film.

The way Hollywood works, you're never sure if their first thought is to make a great film and honor the material or just another business property.

Business purpose and business mission are so rarely given adequate thought is perhaps the most important cause of business frustration and failure.

I was a child in the '60s and a teenager in the '70s, which was the golden age of film as far as I'm concerned, between American film and the Italian reinvention of genre film.

In business, integrity is just as important as in any of the great public offices... but I believe one of the first and fundamental obligations of competent business leadership is above all to protect the reputation and integrity of the business - to that degree the integrity of the business is the integrity of the leader.

I have never had the problem of finding a producer for my films. I think I am just lucky because my first film didn't do great box office business.

When you're making a film, you don't really have time to consider what the whole of your film is. And then, when you're releasing your film and promoting your film, you're looking at it in a different way. Then, as you move away from it, you start to look at it objectively and think, 'What could I have done better?'

The journey for women, no matter what venue it is - politics, business, film - it's, it's a long journey.

Of my mental cycles, I devote maybe ten percent to business thinking. Business isn't that complicated. I wouldn't want to put it on my business card.

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.

I never thought I'd make any money at all doing this business. Film was never even on the cards.

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.

Part of the film business is, if you want an apple, you buy an apple.

Of my mental cycles, I devote maybe 10 percent to business thinking. Business isn't that complicated. I wouldn't want to put it on my business card.

The music business is a weird business. Sometimes licensing doesn't happen because some business component that you never knew about stops it.

It is a business. I know we, as athletes and owners and people involved with the NBA, never want to say that it's a business and things like that. It is a business.

Film-making, in itself, is such a risky, costly-yet-uncertain business that despite being wealthy, 90 percent of people don't become producers.

The enigma of cinema is gone because of the focus on business. As soon as you attach numbers to a film, you limit it. Films are meant to be an escape from reality.

I've always been interested in film, so to get involved in any way in the genesis of making a film or music for a film is fascinating to me.

I put up with the music business because I understand that I'm in the tradition, I'm in a tradition that's of far greater importance than the business I seem to be in. Everywhere I go in the world, people ask me about the business that I seem to be in, but I'm not really in that business.

Look: You're not gonna become a millionaire doing this, but that was never the point. And I think a lot of people in the indie film business kind of took their eye off of that.

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.

I spent several years in the film finance business, but I returned to what I loved most about the industry - actual filmmaking, producing, writing and directing.

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've always studied business. Even when I was a ball player, I'd read business journals and the business sections of newspapers.

Well, the experience for me making a film is the most profound one. I really don’t have any business watching the movie so much. Maybe I could watch it for entertainment purposes, but you have so little input and control of the final product once you’re done that I feel like I just would rather leave it alone. It kind of leaves me in a place where every film I do, I’m kind of having to reinvent and figure out how to start again fresh, and hopefully not repeat myself.

We made 'Pieces' in Cleveland with zero connections to the film business. Absolutely zero.

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.

The independent film business is pretty much gone. Now you can do it in a format where you actually get to develop a character over a period of time.

"Fish Tank" [my favorite woman-directed film] by Andrea Arnold. The film is so beautifully shot, and I love the raw energy of Katie Jarvis, who plays the main character, Mia. She is not a professional actress and she provides the film with a sense of realism. To me, the film feels so complete and superior.

In the restaurant business, if you break even, you're lucky. It's a really hard business, it's a survival business.

Look at 'Dulhe Raja.' It was a film made very quietly on the sidelines, and suddenly, when the film was released, it struck gold. I never expected the film to do well.

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.