Top 1200 Film Crew Quotes & Sayings - Page 16

I've worked on shows where the lead actor doesn't know their lines, doesn't care, and it affects everybody - the crew, the director, the other actors. It's definitely a responsibility.

Film maker Andi Olsen has a wonderful short film called Where the Smiling Ends. She waited at the Trevi Fountain in Rome and filmed the tourists only at the moment after their photos had been snapped, the moment their smiles dissolved. It's genius and heartbreaking. I think about her film when I explore the places the strips malls meet the wild world they are eating up.

Whatever’s inside making me what I am, it’s like film. Film only works in the dark. Tear it all open and let in the light and you kill it.

I'm focusing on my efforts behind the camera. I'm doing some producing and directing so that I can make projects for all of the amazing, talented actors and crew that I know.

The first thing I say when people ask what's the difference [between doing TV and film], is that film has an ending and TV doesn't. When I write a film, all I think about is where the thing ends and how to get the audience there. And in television, it can't end. You need the audience to return the next week. It kind of shifts the drive of the story. But I find that more as a writer than as a director.

I think I'm a pretty cliché actor in that I hate watching myself on film. I don't know why it should be humbling to see yourself on film.

When I worked with Chinese crew for the first time, including production unit, spot boys etc, everyone was so affectionate, sweet and kind.

Live theatre provides a rush you can't get in film or television. But it is the TV and film work that offers the leisure to go off and do a play.

Alex Zamm is probably the most talented director I've ever worked with. He is so good at working with actors and crew and setting up his shots.

The hardest thing to walk away from, over a long-form TV show, is the comradery of the company, both with the crew and the group of actors.

It is true that many of the Sea Shepherd crewmembers are inexperienced, but the fact is that these volunteers bring a passion to the project that cannot be found in a hired crew.

Every time I make a film, I try to do it slightly different. If you're not 100% engaged and interested, then it's not gonna translate into a successful film.

George Clooney is great. He's incredibly prepared and he attracts a tremendously talented crew, which says a lot for him personally and professionally.

One does not have to get frustrated with getting an opportunity, whether it is film, short film, web series or TV shows... As an entertainer, opportunities have expanded.

There is also an artistic element which is lead by the film maker. Issues of what is reality and objectivity are as always relevant as someone is going to edit the film.

My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.

We had an amazing experience shooting the first season of 'Leverage' with such a talented cast and crew and with the full support of TNT behind us.

Winning on the road is always great. If you ask anyone, there's nothing like going into a building with your crew and trying to get a win.

I've always felt that, although Truffaut was greatly revered and admired, at the same time, in terms of film and how much he loved film, he was underestimated.

'Avunu' is a thriller, suspense film set within a small family with a good mix of scary and funny moments, but not a horror film.

Garage has been the big influence in my life. It was the first music that I started MCing to and I really used to look up to Heartless Crew.

My dad made a film called 'Willow' when he was a young filmmaker, which screened at the Cannes film festival, and people were booing afterwards.

My favorite film score is the one Thomas Bangalter created for 'Irreversible.' The soundtrack absolutely defines the daymare-into-nightmare feeling you get from the film.

I think that every film should have its own structure, and that's the beauty of film language - is that we get to express that deeply individualistic side of ourselves.

What better way to foray into production than with 'Khaidi No 150.' The film is truly close to my heart because it is my father's 150th film.

Acting's all about the confidence you exude, especially on film. I mean, nervousness isn't attractive in anyone, but a film camera will seek it out and punish you.

Sarmad Khoosat has a flair for direction and he is humble. He respects his cast and crew and goes out of the way to make them comfortable.

Even if the film doesn't come out quite as you'd hoped, the process can also be very rewarding. I feel that way about a film called 'Lay the Favorite' that I made with Stephen Frears. I did that because the character was a real leap for me. The film doesn't quite all add up internally, but I feel very proud of what I did on it.

If you make a film, that magic is not there, because you were there while shooting it. After writing a film and shooting it and being in the editing room every day, you can never see it clearly. I think other people's perception of your film is more valid than your own, because they have that ability to see it for the first time.

I'm not a genre film filmmaker. I'd rather look for a topic that I think we need to bring up and discuss because there's something about the issues in the film.

What is a commercial film? I think every film is commercial, as every film makes money.

There is a scene in one comic from the '60s-'70s where Batman finds a film, a newsreel film, of his father. This newsreel film is from the '50s, and his father has come to this costume ball in a Zorro costume, which strangely enough looks a lot like a Batman suit in the footage.

We didn't have a drill so he would burn the holes through the wood with a metal rod that he heated up in a fire. Can you imagine an ordinary crew doing that?

The entire cast and crew of more than 200 people have given their best and Shakti' is going off air in a great spirit.

Some things definitely work better on film than in books. Introspection is great in books but it doesn't work on film. Anything with high intensity, whether it's a love scene, a car chase, a fight scene - those things work so well on film and oftentimes they can tell a much broader part of the story.

In film, movies schedules are based on three things: actors availabilities, when are sets being built, when you can rent the place youre going to film in.

I feel that energy up there on stage. The band, the crew and our road family - the look in their eyes - they're so happy to be back doing what we love to do.

When I was taking my canoeing lessons I was given this oar to practice with, and I decided to have everyone sign it. All the cast and crew signed it and now I'm going to frame it.

The thing is, as a film director, you're essentially alone: You have to tell a story primarily through pictures, and only you know the film you see in your head.

I'm really close to my parents and my sisters. It is awesome to have a built-in support system and people who love you unconditionally. I wouldn't be the person I am without my crew!

I would rather portray the hero, if it's a really great film. All my favorite fictional film characters are heroes, such as in "The Last of the Mohicans" and "Robin Hood."

I didn't go to film school. I was never an assistant or trainee on a film. I had not seen all those cameras. So I think it gave me a lot of freedom.

When you watch a film, a huge part of it is the music and the coloring and everything that comes together to create such a unique film. So, reading the script, I had no idea what it was gonna be.

Releasing a film through DTH is a double-edged sword. The opinion formed following the premiere of a film can mar or enhance its business.

When film director T.K. Rajeevkumar cast me in the role of the iconic Rathi in the new edition of 'Rathinirvedam,' I had no idea it was such a cult film.

Hollywood is a film industry, a film business. I don't approach my career in that way. I see it as 'art,' and I become involved in films that ring my bell.

While 2015 was challenging, we implemented many strategic and operational initiatives to improve our business and better position J.Crew for the future.

In 'Winter's Bone,' it's literally the director and the camera operator. That's it. Just a super-small Kubrick crew. You know what I mean? Like, 8 people.

American film isn't just film and glamor and fame and the lives of people who are fortunate financially. Those aren't the only stories in this vast nation. That's my mandate.

Back in the Bruce Lee era, and in my era, Kung-Fu stirred up a kind of frenzy, and many people were learning martial arts from us. But about a decade ago, Hollywood began bringing in a number of our action choreographers, including two from my own stunt crew, where they became martial arts directors. Now, a decade later, Hollywood has learned it all, so when you look at the action films they're making now, they all use our action, our martial arts, and then add to that their own technology which is ten times better than ours, and it has to leave us dumbfounded: how did they film that?

The parts of a film should be in proportion to the whole, and a long film pasted together out of quick little scenes makes me dizzy.

I wanted to make sure that the environment of the shooting itself was not that controlled, and the way to go about that course was to work with as small a crew as possible.

I liked work shoes and big, working-class hands. The stars would come and go, but the crew on my movies was my extended family.

If the vibe between two actors is not good, it shows in the work, so it's very important that everyone in the cast and crew is supportive to each other.

This is indeed not only relevant to Documentary but is evident is most type of film making. The film often mirrors the experience, understanding and politics of the director.

The film of tomorrow will not be directed by civil servants of the camera, but by artists for whom shooting a film constitutes a wonderful and thrilling adventure.

In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.

I revisit stories and see if they are still living and breathing, because if you do a film you live with that story for another year. I can't do a film in six months and scoot.

I would say the three stages of making a film are the initial 'are we gonna do this,' 'how much will I be paid,' is there a lot of nights, who's it going to be with? The second stage of doing a film is how much fun your going to have doing it. The third stage is was the film a hit?

I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.