Top 1200 Film Crew Quotes & Sayings - Page 20

Audiences are an unknown mystery to me, so I can't really predict anything. For me, the best audience is myself, my crew, and the actors.

For me, filmmaking combines everything. That's the reason I've made cinema my life's work. In films, painting and literature, theatre and music come together. But a film is still a film.

I'm dying to do a masala Bollywood film with typical song and dance. But having said that, my character in the film should have her own point of view. I won't play a role who has no brains.

I'm planning some films in the U.K., and it will have pros and cons. It takes a lot more time to set up a film in the U.K., because you can't rely on much. In Greece, friends show up and bring what they can and you make the film. Well, that's a bit simpler than how it really is. But when you make a film with proper industries, it takes more time to synch all these things.

All my films I have shot in chronological order - always. And the reason is that there's a moment that the screenplay is the notion of the film. But when you start doing a film... the work itself starts being transformed, and you have to surrender.

My protest against digital has been me saying, "What's going to happen to film?" The result is that Kodak is out of business. That's a national tragedy. We've got to keep making film.

This film [ Blue is the Warmest Color] actually is the result of me talking with my producer Vincent [Maraval]. I gave him a bunch of ideas and then Vincent helped guide me and develop this particular film. I enjoy that rapport to have somebody else help guide me in my choices for the next film. The poetic way of looking at it is which project is going to choose me as a director.

I don't think that my work appeals that much to the hard-core, avant-garde film audience. They appeal to people who teach film and those establishment figures on the East Coast.

It's not always an easy process when you bring in a whole new crew of guys because you trusted the last people so much that it's hard to build the same rapport again.

I left home at the correct time but when I was riding along near the hatchery, the crew was separating some salmon, I guess I just got distraught, watching them.

My goals are for the U.S. team to get to the second round of the World Cup and to win a championship here in the U.S. with my club team the Columbus Crew.

When I started acting, there were parts in English that I thought I just had to try it out and go to another country. I did a film in Ireland. It was my first film abroad.

Directing, you have to put yourself in a certain state, it's all about the energy you have and the energy you transmit to people, to the actors, to the crew. It's peculiar.

Theater will always be my first love. The time and dedication that goes into the rehearsal process with the cast and crew is something that TV/Movie acting does not offer.

I experienced Hip-Hop first-hand in the Bronx with the boys in New York; people like the Rock Steady Crew and The Dynamic Rockers, I looked at it for what it really was.

'Haraamkhor' is a low budget film. We are not worried about the box office because our film is already in profit. It's got a strong content that will reach people's heart.

We find that other employees are very enthusiastic about their fellow crew members who have disabilities-or what they previously thought of as disabilities.

When I make a film, I never stop uncovering mysteries, making discoveries. When I'm writing, filming, editing, even doing promotional work, I discover new things about the film, about myself, and about others. That is what I'm subconsciously looking for when shooting a film: to glimpse the enigmas of life, even if I don't resolve them, but at least to uncover them. Cinema is curiosity in the most intense meaning of the word.

It's amazing how quickly human beings adapt, isn't it? It was such a great crew, and David [Lynch] was wonderful to work with [on 'The Elephant Man']. It was a very thrilling time, actually.

'Band Vaaje' is all-in-all a comedy film. But all comic scenes are situational. The jokes are not just for the sake of punches. The film has proper story which we are sure that audiences will love.

I was playing in a band and was approached to score an independent film. I had never done it, but had written instrumental music, so I figured I could do it. Turns out I loved scoring the film, and took on another couple films before realizing that if I was to be an effective narrative composer, I should study the craft of composition. I stopped taking projects and got a degree in orchestral music composition, and followed that with film scoring studies. Near the end of my degree studies, I started taking on student films as a way to get back into film scoring.

When I write a film, the film gets handed off to a producer and a director and I go my merry way. With television, I am expected and contracted to stick around and actually produce what I've written.

I've done really well so far in my career by trusting the audience to be as dissatisfied with convention as I am, as a film-goer. You want to go see a film that surprises you in some way.

When I work on films, I like to be involved from as early as possible. I think this is really good and beneficial in terms of absorbing the atmosphere of the film and for the music to become a part of the DNA of the film.

I want to do more independent film. I'm blessed to be working on really quality episodic television, which to me actually feels like a sort of 13-hour film.

I think film and television actually is a lot harder. Acting onstage is physically more arduous, but to get to emotional truth within a scene, it's much tougher to do it on film.

'Black film,' that term allows studios to just marginalize a movie and say, 'We've made our black film. We've made our film with people of color in it,' as opposed to, 'I just feel like people of color should be in every genre.'

I have equal parts film and digital cameras in my collection. I think that there are ways to Photoshop photos so that they look like you shot them on film, but is that as rewarding? It just depends on the person.

You see the film, you might be entertained, and if it's not a great film, it loses its power very quickly. I think even simply acceptable books stay with us a lot longer.

The thing that fascinates me is that the way I came to film and television is extinct. Then there were gatekeepers, it was prohibitively expensive to make a film, to be a director you had to be an entrepreneur to raise money.

My sense is that you can make a film under almost any circumstances. As long as someone has a vague idea of what he's doing, something distinctive will emerge. That, to me, is what film making is all about.

For the film 'Saat Khoon Maaf,' which was adapted from my story 'Susanna's Seven Husbands,' I did collaborate on the screenplay. I even took a small role in the film, of a priest.

If you don't put your crew on your album, you're a snake.

I think tax breaks for diversity is a good thing. In film now, what happens is you get huge tax breaks if you can prove via your hiring practices and via casting, that the film is British, you get a tax break. Wouldn't it be great if you got a tax break because the film was properly diverse?

The key relationship for writers in film is producers, because those are the first two people involved and the ones who work on it intensely in a private way without the big machinery of film.

While researching the book, I used the Freedom of Information Act to request what the military calls Individual Deceased Personnel Files for all the Gremlin Special's passengers and crew.

The cast and the crew made me feel really welcome. Towards the end it just got better and better.

While at Parsons, I interned at Marc Jacobs, which was great. When I graduated, I went to work at J. Crew; that was also really great.

A man should definitely own a couple of blue denims, white crew neck T-shirt, a versatile blazer, comfortable pair of boxers, and coloured sneakers.

In TNA, if I wrestle, I'm able to help one person. As a road agent and head of talent relations, I can help an entire crew.

I'm wondering if the crew [from'The Hateful Eight'] had some sort of nickname for me. I am blanking at anything truly funny, so I'll just say, 'No Phone Quentin'.

All films are learning processes. I am still trying to work out how you make a movie. I didn't study at film school or any of those things. I didn't bother with film theory.

The communication between the driver, the spotter and the crew chief is very key. You can't have people talking at the same time, so it's like a choreographed radio call of a baseball game.

I'll probably always write film scores. It's the one place where a composer has almost unlimited resources at his beck and call. When music you have written works well in a film, nothing can beat it.

My grandma was really sick when I was working on 'Sin Nombre' and eventually died that summer when we were finishing the film. But I was able to bring an unfinished version of the film for her to watch.

I was obsessed with Batman as a kid. I did the film in part just to be near the Batmobile. But I also think [director] Christopher Nolan made a very fine, intelligent film.

Even for the most difficult scenes, and there are difficult scenes in the film, and because Michael Haneke is such a great film-maker - I think a great film-maker is not only being inspired, but how to do it, how to make it as real as possible, knowing that it's not real.

I'm from New York, and yet I've done only one film executive-produced by Spike Lee and have never done a film that Spike Lee directed. I've never done a film that Keenan Wayans has directed, or Bill Duke.

The best Chipotle restaurant managers get the title 'restaurateur' and a $10,000 bonus for each person they hire who starts as crew and goes on to become a manager.

It's true I was approached for 'Heroine' but I couldn't do the film as the dates were clashing with Kamaleswar Mukherjee's film 'Meghe Dhaka Tara' based on the life of Ritwik Ghatak, where I played the lead.

Y'all mythological niggas is comical, The astronomical is comin' thru like tha flu bombin' you... And embalmin' in your crew, too. With the musical, mystical, magical, you know how I do.

Your crew becomes your family and you trust the director and the other actors on the set, and it's a very safe place.

I conceive of the film as a modern art form particularly interesting to the sense of sight. Painting has its own peculiar problems and specific sensations, and so has the film. But there are also problems in which the dividing line is obliterated, or where the two infringe upon each other. More especially, the cinema can fulfill certain promises made by the ancient arts, in the realization of which painting and film become close neighbors and work together.

Independent film is such a huge deal in the UK. There aren't many big budget studio movies that get greenlit at all. The indie film industy is a great opportunity that I'm trying to seize.

Truth: I loathe the idea of being hired because of my gender, and I shudder at the thought that one day I show up on set, and half of the crew thinks, 'Here comes the quota hire.'

Filmmaking involves a lot of passion, hard work, thought process and money. But 'Gandhi My Father' is a selfless film, a film made with complete selflessness. We all went beyond ourselves.

A film is a film and it has to be good to be inspired. That's number one. It can be Italian, French, German, American. It's moving images in front of you and with a strong director who injects his point of view and artistry.

I've been astounded to discover how good to their teams and crew that Marvel are. They're so collaborative, so smart with their stories. They have rich, dynamic characters which are so much fun to play.

I think the situation in Toronto is such that there are funding organizations which make it easy for a film to raise more money than it needs and very often that works against a film.

Speaking of photography, while the Apollo 8 crew shot hundreds of photos, there was one that got everybody's attention: a blue-and-white Earth rising over a gray moonscape.