Top 1200 Film Crew Quotes & Sayings - Page 5

I don't believe in an annual dose of film music for the sake of it being film music. If we program film music, it will be because there is a real artistic reason for doing so.

A film just doesn't involve actors, a director and a producer, there is also the cameraman, the sound engineer, the music composer, the lyric writer. So many people come together to make a film. When we all feel satisfied with the film that we have created it's a win for all of us.

Film is more than the twentieth-century art. It's another part of the twentieth-century mind. It's the world seen from inside. We've come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself. This is where we are. The twentieth century is on film. You have to ask yourself if there's anything about us more important than the fact that we're constantly on film, constantly watching ourselves.

At the time I left film school there wasn't a lot of hope for young film-makers. It was a calling card of film school to be quite slick and commercial, which might lead to getting some stuff on telly.

With 'Dance Moms' in L.A., we film on Wednesday, Thursday, Friday, and Saturday. When we film in Pittsburgh, we film the same days, but we still dance in our studio when we're not filming, so I'm dancing every day except Sunday.

One must go for a film with an open mind; a film best impacts you when your mind is a blank page to the film.

I'VE NOTICED, FROM MY EXPERIENCE, IF THE EXTERNAL, EMOTIONAL CONSTRUCTION OF IMAGES IN A FILM ARE BASED ON THE FILMMAKER'S OWN MEMORY, ON THE KINSHIP OF ONE'S PERSONAL EXPERIENCE WITH THE FABRIC OF THE FILM, THEN THE FILM WILL HAVE THE POWER TO AFFECT THOSE WHO SEE IT.

A successful film is a good film, and a non-successful film is a bad film. It's as simple as that.

I spent my 20s making film after film, often in very adverse conditions. You'd fly back from somewhere - Beirut, the Falklands, South Africa - on Saturday, and you'd have 24 hours to cut your film, and it would go out on Monday night.

My favourite film is probably 'Star Wars'. I do love 'Starship Troopers', it is a great film but it's not a film I watch over and over again. Whereas 'Star Wars' I've watched over and over again all my life, and it's a film I can tolerate watching with my children.

'Stomp the Yard' was a great film. It was a great film, great opportunity. It's the reason I live in Atlanta to this day, that film. But as far as acting goes, it wasn't very challenging. I played me.

I think films are about having a good time, so I don't know that there's a message. The message of a film is always what a critic writes, and the fun of a film or the emotion of a film is what the audience feels.

In terms of digital photography, I continue to print and use film for the most part. I still shoot with film, 21/4 film specifically, and I love it. I love it because I know what it does, how it really responds to light.

Truth is a pursuit, it's a quest. And proof is certainly in the pudding in this particular instance, because the film, and the evidence accumulated in making the film, led to this man's release from prison. And that's hardly ever happened, if it's happened at all, in any other film that I can think of.

When I switched to screenplays - 'cause I had done musicals and plays - the first assignment in film school was, you have to write a silent film. And it's tremendously helpful to learn how to do that because dialogue can be a crutch. If you can master a silent film, you're golden.

I would like to do more film scoring, period. Whether it is a big film, a small film, or just anything. I feel like I have a lot to learn, and what better way to do it than on the job?

To be a film director is not a democracy, it's really a tyranny. You're the head of the project, for better rather than worse. I write the film and I direct the film, I decide who's going to be in it, I decide on the editing, I put in the music from my own record collection.

I'd like to do a film in Canada, but it's too difficult. National Film Board funding takes too long, and there's too much paperwork; by the time the film is approved the topic is dead and gone.

In a film like 'Kannathil Muthamittal,' I can't have a Rajnikanth or a Kamal Haasan. If you have a star, the expectation of the film is different. So, you cast according to the subject of the film. Some films are best done with stars because it gives you a base on which if you can get the correct performance, you can reach higher.

'Dil Chahta Hai' was too raw. We only thought about the film. We never thought where the film was going to go. We wanted to make a film on our own terms.

In any film business, if you're trying to get your next film made, you would never say, 'Oh, my last film was a cult film.' I'd say, 'Oh, great, well I hope this one isn't!' I always say to Johnny Knoxville, 'How do you do it? You sort of do the same thing we did, except you made millions, and I made hundreds.'

I meet all these American filmmakers that film for months and months, and it's a mystery to me. I couldn't make a film like that. I have to be very clear in what I'm doing and where it's going, and be very disciplined about what I film.

There's a film there in competition [of Sundance Film Festival] called To The Bone. It's directed by Marti Noxon. I have a supporting role in it. It got really well received. It's a really great film.

Even during my short film days, I approached theatres with the idea of playing them during the interval. They thought it was problematic to screen an offbeat short film in between a commercial film.

Lots of people expect 'Andhadhun' to be a dark film, given it's from Sriram Raghavan. But this film is fun, entertaining, thrilling, and while it has moments of darkness, overall it's not a dark film.

Well I'm Superman, just not action. I'm kind of looking for something with a lot less action and more talking and listening. I also have a film that's premiering Vegas Film Festival, short film, directed by Joel Kelly, it's called Denial and it's a story, short film, 35 mm short film and it's about a man's struggle to choose between the woman of his dreams and his reality, so it's definitely different than Superman. So I'm really proud of that.

J.Crew's a great brand.

You know what? As a black person, you see so much racism. Films are no different than the government, politics - it's everywhere. It's not exclusively film. It's infuriating to see it in film. But my being in film changes things.

You know as a director what you want, but the film is smarter than you, the film says no, the film says there's something more here.

For me, there's one film at a time, and my only benchmark is that my current film should be better than my last one, and I've made sure of that. If you Google the trailer of my first film - which I request you not to - you'll see the vast change in my approach towards my profession and the slow gain of maturity in performing.

I wanted to do a film for a while, but I never found a script that I felt I was going to be the right person for; because if you've never made a film, you're not taught how to make a film, and you feel like you lack skills.

It used to annoy and frustrate me to have to come in and audition. I would say to my agents, 'Haven't they seen this film and this film and this film? They know what I look like... They must.' Until I directed an episode of 'Roswell.' And all of a sudden, I realized why that was such an important thing.

But it wasn't just a technical approach towards the piano, studying the music for this film was also a way of approaching the soul of the film, because the film is really about the soul of Schubert and the soul of Bach.

With 'Sharknado,' they've got a great mix of TV and film. This is a film that has film impact in the TV medium.

It's a film made in a very radical creative manner. It was possible because we didn't have to pander to capitalism. I think the film is also a humanistic cry for help for animation. It's a film [Boy and the World] with sensitivities completely opposite to what the market wants to sell.

I think 'The Girl with the Dragon Tattoo' is a good example of a film where you have to juggle a whole lot of information to follow that story, and even if you haven't read the book, it seems to go pretty well. And that is a film where the characters didn't meet until 74 minutes into the film, not on page 17.

My first film was a big dud at the box office, and my second film did decently. I used to wonder how it would feel to have a hit film. I thought I'd be larger than life, but I'm not feeling anything I imagined. It's a completely different experience.

I have songs that define characters from each film of mine. It can be a song from that particular film or something that just goes with the wavelength of the film; you listen to it, and it gives you that rhythm. I can't articulate how it helps, but it somehow gives you an understanding of the character.

The TekLife crew are super dope.

I did the Kannada film when just out of school. I didn't know anything about the South Indian film industry at that time, and I did the film to earn some pocket money. I realised then I like acting.

We didn't create the culture of film. We certainly market it better than anyone in the world, but film could have happened anywhere. It's not distinctly American, as witnessed by the fact that there are film communities throughout the world that tell stories to their own cultural liking.

It's not hard to understand why an accomplished director like Gus Van Sant (whose most recent success, Good Will Hunting, gave him mainstream clout) would be interested in making this film. The lure of an exact remake presents a tremendous challenge. Unfortunately, it was undoubtedly a lot more stimulating for Van Sant and his crew to make Psycho than it is for an audience to watch it. Curiosity is going to be one of the primary reasons why people pay money to see this movie; boredom will be the predominant result.

You know, in an ideal world, people would just be intrigued and go and see a film without knowing anything about it, because that's where you're going to have the most experience of a film, the biggest, the most revelation of a film. But at the same time, I think there are benefits of having seen a trailer where you actually look forward to seeing moments in a film knowing that they're coming up. I don't know which is better.

It makes it very easy. I have a beginning, middle, and end, and I don't film for long - about 20 hours usually for a two-hour film - so it's easily watchable in a week for me and the editor. Once I know who the characters are, I only film those characters, unless somebody else forces their way into the film by a scene happening to them or we meet them by chance.

No one knows why a film does well or not. The reasons for this are not important. What is important is the intention you start the film with and the final state when the film releases on a Friday - whether people liked it or not.

I didn't watch a film after the 1960s. I have no idea who all were the good heroes, directors or producers in the '80s. The only film I watched after all those years was my own film.

As an actor, my attitude towards using of film versus digital is, if you have film, filmmakers have to cut eventually so you don't have to learn all that dialogue. With digital, they can just go on forever and it's a nightmare. So, I like film - nice short takes.

Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.

We're not passengers on Spaceship Earth. We're the crew.

I did sing in another film called 'Empire Records' which is a cult film. 'Grease 2' is also a cult film. You either love it or just think the original was better.

There are no passengers on spaceship earth. We are all crew.

See, a painting is much cheaper than making a film. And photography is, you know, way cheap. So if I get an idea for a film, there are many ways to get it together and go realise that film. There's really nothing to be afraid of.

Film is a disease. When it infects your bloodstream, it takes over as the number one hormone; it bosses the enzymes; directs the pineal gland; plays Iago to your psyche. As with heroin, the antidote to film is more film.

I'm ready for all forms of dialogue about the film The Conquest. There will be a lot of political talk, but I don't think the film itself will be scandalous. For the French, there are so many emotions relating to Sarkozy and politicians in general that I think the film will generate a lot of passion, whether it be negative or positive. Above all, it's a fictional film. It was important not to make a documentary and to really pay attention to the images. From the choice of the actors to the mise en scene, the film is completely cinematographic. It's not just a boring political movie.

I love my co-hosts and the crew at 'The Talk.'

Film writing and concert writing are two very different things. In film writing I am serving the film and it tells you what to write. I have to stay within the parameters of the film. In writing concert music for the stage I can write anything I want and in this day and modern age rules can be broken.

The Russians have been flying long duration crews since the early '70's. And in the early days, they've ended at least two missions early because of conflicts within the crew. So, they learned early on the importance of studying this and making sure you put the right crew together. Since we began our work together on the International Space station with the Russians in the early 2000's, NASA has started to learn the importance of this kind of work. And so, I think it's important work and we are not fully onboard and recognize it as important.

You can't direct without a good crew.

I had seen 'Onaatah' when I was a part of the National Film Awards jury in 2016. I was very impressed with the film because it was a small but a very inspiring film. Since it touched my heart, I thought of remaking it.

I made four comedies, and all did well, but I always wanted to do an action film. When I saw 'Singham,' I thought this was the right film. Many stopped me, saying, 'You are doing so well in comedy, why do you want to make this film?'