Top 1200 Film Crew Quotes & Sayings - Page 17

'Gaana Bajana' gave me an opportunity to experiment with my looks. I played a tomboy in that film, a role that I hadn't essayed before. I have no regrets for having done the film.

After I read the story of 'Dangal' and before the film released, I called director Nitish Tiwari asking him if he had any good script. He told me to wait for some time. So we had three-four sittings, and this film, 'Chhichhore,' came to him. The film did not have superstars, but I felt that this is the script that needs to be told.

It proved to be pretty impossible to get funds for a feature film in Finland. It's still small, but the film industry was miniscule at that point in the early '80s.

Sometime ago, I went for a film festival in San Francisco and that's where I met film director Warren Foster and actors Robert Parham and Randy Taylor, by chance.

Most young people make films to be accepted, to be discovered, when in fact that was the last idea with the group I went to film school with. To be discovered was not our intention. Our intention was to tell our story our way, and make our own mistakes and learn from film to film.

I was very happy to learn Oliver Stone had decided to make a film about Edward Snowden and believe this is a powerful and inspiring film.

I think for my casting of 'Pati Patni Aur Woh' the makers saw my ad film which I did for a brand and they decided to cast me in the film.

If a film promotes communal harmony, which for me is beyond religion, I am happy to work on it because the film's premise is in line with my beliefs.

But I don't think as film-makers it is our responsibility that every time we make a film we should be saying something. If you are entertaining people, that's more than enough.

I have never been someone who chooses a film according to the language. Since I am comfortable with Tamil, Kannada and Malayalam, the scope of the film is all that matters to me.

When I walk onto a film set, I become frightened and nervous. There's all this equipment, all these people, and most of them do things you don't know how to do. I didn't come from a film background.

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.'

One thing that the audience, and perhaps critics, aren't aware of is that, especially in a film like 'Moonlight,' you always shoot a lot more footage than makes the cut of the film.

What I love about film is that everybody often connects to something so different, and things you couldn't anticipate when you were making the film, so you just make it as honest as possible.

Apart from the highs and lows of when your film releases, there's a strange, addictive quality that making a film has because of all that drama. There's so much that goes on, and we miss it when it's over.

A film you can explain in words is not a real film.

So I prefer to do the entire music for a film. And when I'm doing the background score, I can weave the whole film together in terms of themes and songs for a good cinematic feel.

Small events and some songs and dance do not make a film. A film needs to have a proper structure and there has to be an output which would be relevant to people who watch it.

The most important film I made, in terms of its subject and the great responsibility I had as an actor, was a film I did about the founder of Pakistan called 'Jinnah.'

The first film that I saw of Shammi Kapoor was 'Bhramachari.' I instantly fell in love with the film and connected with Shammiji. His style was natural and unique.

Television is very different than working on film. With films, you get to develop a set of characters, and then, at the end of the film, you have to throw them away.

When I first started to beatbox on the microphone with the Get Fresh Crew, people were shocked. Some things are just supposed to happen and you have to roll with it.

No critic writing about a film could say more than the film itself, although they do their best to make us think the oppposite.

The film I think was a good film for what it was designed for. It was for kids. Unfortunately the critics slashed it before it even started but that is just the way the cookie crumbles.

Film is a director's medium, and a film set is a complicated military structure - I have to keep reminding myself to stay in my place, or all will burst into chaos.

We petitioned to get access to film [Suffragette] at the Houses of Parliament and we whooped with joy when we were allowed in, as this is the first ever commercial film to shoot there.

You give your film away to the audience once it's done. I never look at my films after the premier. The film needs to start its own history.

I approach every film as my first film.

The audience is making the film and not the film-maker.

Film as dream, film as music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames a second, darkness in between, the optic nerve incapable of registering darkness.

I think the British industry is set up to support British film, if we make films that enable them to support it. If you don't make a commercial film, distributors can't get behind it. If they don't get behind it, the film doesn't do well.

To make a film is easy; to make a good film is war. To make a very good film is a miracle.

Dolly Ki Doli' excited me because it has unique characters. Though it is a smaller film and without a big star, it is still a mainstream film.

I'm not trying to be self-serving, but you know, you get to Hollywood, and if you want to make something big and loud and dumb, it's pretty easy. It's very hard to go down there and make a film like 'Sideways,' which I thought was a great film. They don't want to make films like that anymore, even though that film was very successful.

When a film is reviled, you open a film and people say "Oh, it's the stupidest thing, it's the worst movie." You think: oh, nobody's going to ever speak to you again. But, it doesn't happen. Nobody cares. You know, they read it and they say "Oh, they hated your film." You care, at the time. But they don't. Nobody else cares.

It's always fun to get to do independent film because I believe that that's the life blood of film. It's about writers and directors who truly have their own vision, and that's hard.

With 'Aurangzeb,' I just knew that the film wasn't going to work, though I think it was one of my most underrated performances. I did the film too early in my career, but I stand by it.

I worked with Jim James on my film 'I'm Not There' - he sang 'Goin' to Acapulco' with Calexico backing him up. We just hit it off, and it's such a beautiful moment in that film.

I have had several offers to make the book into a film. I don't know if the message could be accurately transmitted, and so I have been somewhat hesitant in granting film rights.

We shot 'Party Girl' on film, and I remember being told, 'We need to get this in two takes because we don't have a lot of film in the mag right now!'

You shouldn't think about the fate of the films. The film might succeed or fail, but your performance must be good. You should work hard for every film.

It's very important to have a good relationship with the crew and cast because you want to get the best out of them. They'll work really hard for you if they like you.

I'm very attracted to directors who want to experiment. The thing that attracts me the most are people who are trying find a language that is correct for their film, for that specific film.

I was about 6 or 7, I would have said I wanted to be an actor and an artist. And that just kind of kept honing itself around film and getting closer to film.

When I did my first student film, it was a ten minute film and it cost $U.S.4,000. I worked three jobs to pay for that and I haven't really slept since.

The makers of 'Ushakaal' said that if I don't do the film they would shelve the project. I didn't want a good subject to be shelved because of me so I went ahead and did the film.

'Biutiful' is a tough film. It doesn't make concessions to the vulgarity of light entertainment. It's not the kind of film that you see every day in the Cineplex. But as an artist, it's the thing that I needed to do.

Apart from my film, I am producing TV serials and plan to make more films, too. Mine is not going to be one-film-a-year production company as such.

I went to the University of Toronto to study the history and theory of film, in the back of my mind thinking I'd go to NYU film school and see if I could make a career of it.

I went to film school when I was 17, and of course when you are very young you think that there is nothing else in the world except film. At some point I started getting hungry to see something else. For five years I didn't make any films, I was traveling around the world, writing for newspapers, working in theater, working in opera, I thought I would never return to film.

Harvey Weinstein bought our film, and he's an animal. He's got us out there campaigning and everything because honestly it's a silent black-and-white film.

While fashion is exciting because it changes all the time, it is also fleeting. Film, though, is forever. In a way therefore, film is the ultimate design project.

On an average, any short film will cost at least Rs. 60,000. Apart from film festivals, where is the avenue to get that money back?

In this land of unlimited opportunity, a place where, to paraphrase Woody Allen, any man or woman can realize greatness as a patient or as a doctor, we have only one commercial American filmmaker who consistently speaks with his own voice. That is Woody Allen, gag writer, musician, humorist, philosopher, playwright, stand-up comic, film star, film writer and film director.

I would like to say to as many people as possible that please go and see the film 'Jaana,' because we all have worked hard to make it a good film.

When I am playing the protagonist of the film, before the release, I feel a certain pressure because I become the face of the film, then, and I have a major responsibility.

It was the beginning of film for television. So we had all of these great opportunities. Northwestern was probably the only major film school of its kind at the time that was graduating anybody important.

I think it's like the '60s - we're going to see another revolution in film where these new filmmakers stand up and take ownership of what film is and mould it into what they want.

I applied [to film school] figuring, "I need to find some structure for myself. I need to find a way to figure out what kind of filmmaker I want to be." And that is what film school provides you with. It'll teach you the basics of how a production works and the technical side of how to put everything together, but you could also learn that by working on film sets.

I did a short film called 'Disco' and won an award for Best Supporting Actor at an indie film festival, and that was nice. Hopefully there's lots more to come.