Top 1200 Film Crew Quotes & Sayings - Page 6

I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.

The traditional Hollywood system is pretty rigid, but the film scene in, say, South Africa is booming with a lot of possibilities. If you have the cameras and reasonable capital, you can put your film in theatres next to 'Guardians of the Galaxy.' A great example of that was Kagiso Lediga's film 'Blitz Patrole.'

I just remember when I came out of film school - and I loved film school - that the industry was such a mystery. How to break in, and once you are in, how to make a film; that is such a large undertaking. There are thousands of pitfalls.

For example, how you would introduce a leading character into your film, and as an absolute ingenious example, [Elia] Kazan in his film Viva Zapata!, how he introduces his leading character Marlon Brando into the film. No film ever did it as wonderful as he did it.

I did not want 'Battleship' to be perceived as an American war film. I wanted to do everything I could to make the film accessible to a global audience. It felt like bringing an alien component to the film would help take the American jingoism out of it.

I always wanted to go into film. I love film. I loved growing up in the theatre, but I always wanted to do film all along. But, I still pursue music separately.

As I had visualized, 'Heroine' is shaping up to be a very contemporary film with a different premise and strata. This film, like most of my other films, is a blend of facts and fiction. The film has a larger span, more characters, and costumes... a journey that revolves around an actress's life and the showbiz.

The silent film has a lot of meanings. The first part of the film is comic. It represents the burlesque feel of those silent films. But I think that the second part of the film is full of tenderness and emotion.

Film is subjective, and we must be careful with that. The kinds of films I love are those that observe, and I give possibility for people to talk. No need for me to tell people what to think - even when I make a film like 'S-21.' It's only one point of view. It's still a film; it's not a tribunal.

I've spent a great deal of my life doing independent film, and that is partly because the subject matter interests me and partly because that is the basis of the film industry. That's where the film-makers come from, it's where they start and sometimes its where they should have stayed.

Musicians are, by and large, not the most politically savvy crew.

I'm a huge fan of film primarily. But, you can get a great TV show and get attached to it. Making a great film is forever though; so I always want to be part of film. It's my first love.

I'm part of the crew obsessed with 'The Wire.' Like, I'm not over that yet.

In film you have the script months ahead of time often, for a good film, but in television it seems like you might not get the script until a week or two weeks before you've got to film it. It's a little weird, but also quite challenging. It reminds me of repertory theatre.

My pay packet is reasonable. But I prefer doing films where I have a meaty role. The set-up of the film and the filmmaker also matter to me. For me those are vital issues that help me decide on a film. You never sign a film only for money.

There's no sort of hierarchy at 'Corrie.' The crew get on.

Levis are my go-to. Plain crew necks and jeans.

I don't really get stuck in a time warp where, if my film is a success, I have to keep partying till the next one releases, or if my film is a flop, I keep wallowing in sorrow until the next comes my way. My hard work in each film is always there.

I've made the film 'The Good, the Bad, the Weird,' which was an Eastern Western film. Obviously, the Western film is American and American only; there's really no Western genre over in Asia.

We came into a broken world. And we're the cleanup crew.

'Podaa Podi' is a film that sees Simbu and Varalakshmi in three phases of life. Thus this film of course takes more time to wrap than usual flicks. The film is entirely being shot in London and we require to shoot it only during a particular season as the script demands it.

If you can get the crew to laugh on a show, you know that you're doing something.

The film is a direct mirror of the director. If your director doesn't know how to dress, there will be an aesthetic of the film that won't come through - whether it's in the costumes if he doesn't know exactly what he wants or the look of the film.

Your first film is always your best film, in a way. There's something about your first film that you never ever get back to, but you should always try. It's that slight sense of not knowing what you're doing, because the technical skills you learn - especially if you have a film that works, that has some kind of success - are beguiling. The temptation is to use them again, and they're not necessarily good storytelling techniques.

There are things that you could do with film that you could never do with HD. There's a warmth and an organic quality - almost a handmade quality - that goes into film. Film will always have a bit more of a humanistic feeling to it.

I'm not coming from film school. I learned cinema in the cinema watching films, so you always have a curiosity. I say, 'Well, what if I make a film in this genre? What if I make this film like this?'

I can't believe 50 years have gone by since that film was released. I blinked and suddenly here I am. We all really felt blessed and as for me; how lucky can a girl get. Great music does more than enhance a film, it cements our memories in the film going experience.

An angry skipper makes an unhappy crew.

When you value your crew, they look after you.

In America, instead of making the audience come to the film, the idea seems to be for you to go to the audience. They come up with the demographics for the film and then the film is made and sold strictly to that audience.

'Race' is one of the most successful film franchises in Bollywood. So I was really excited and honoured on being approached for the film. But since I was already committed to another film during the same time as the makers are planning to shoot 'Race 3,' things eventually didn't work out, unfortunately.

Our film [Hide and seek ]was created as part of the Asian American Film Lab's 11th 72 Hour Film Shootout filmmaking competition, where filmmaking teams have just 72 hours to conceive, write, shoot, edit and submit a film based on a common theme. The winners were announced during the 38th Asian American International Film Festival in New York last July. The theme for 2015 was 'Two Faces' and was part of a larger more general theme of 'Beauty'.

The nature of the shuttle was, we couldn't put a crew escape system in it.

I make a film - and once I've made it, everyone comes along and says 'Ah! This is a film that's political, or social', or whatever. But I'm not telling the story that they see. I made a film, told a story, but I wasn't thinking about exactly what it all meant.

Make film, shoot film, run film. Do something. Make film. Shoot anything.

I shoot very little film. If you just do coverage you're shooting any number of potential films instead of just one, and I was shooting just one specific film. Film is cheap but time is expensive.

Eight months with a cast and crew is a long time.

'Room' was a particularly cohesive group, crew and cast.

One of the earliest memories I have of feeling the power of film music was watching Willy Wonka & the Chocolate Factory. That was a really clear epiphany for me, when I realized that each film has its own music, and that there was someone out there who wrote this very specific music for just this one film.

To the brave crew and passengers of the Kobayshi Maru…sucks to be you.

After I finish any film, I move to the next one. It takes about a year to write and another six months are for pre-production and other things. You need a minimum of two-and-a-half months for the shooting of a new film. Then, I also edit my own film.

There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.

At the end of the process we called a market research company to find out whom the film was for or what was the target audience. We didn't have a lot of money to release the film, so in order for it to play in cinemas, which are dominated by films with much larger marketing budgets, we had to discover whom the film was for.

I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.

One of the biggest concerns about going out beyond lower Earth orbit is the radiation. We find that exercise seems to counteract a lot of the negative effects of space flight, like bone loss and muscle atrophy and cardiovascular systems issues. We exercise two hours a day on the station, which is a huge hit out of your day. It's great for staying in shape, but you know, it cuts into the productivity of the crew and if you look at how expensive it is to get a crew into space, if we can keep them healthy and have them exercise, but spend less time doing it, we can get more done.

It's easier to go from theatre to film than the other way round. In film you're absolutely loved and cossetted and cared for. In film your director makes your performance. In theatre you're carrying it all.

'The Stepfather' was the first time I sort of carried a film, or led in a film, and doing it was fun, and I felt very special. Afterwards, though, I was terrified. I just thought, 'Wow, this is basically going to be about me. If this film is a success or a failure, a lot of it's on me!'

I liked 'The Help,' and I love Viola Davis. But I didn't think that film was a great film; I thought that was a very uneven film. I thought the Southern women were so caricatured that it was kind of like 'Harper Valley PTA' or something like that.

People ask 'How does doing a film compare to doing an ad?' Well, when you're doing a commercial you don't have to sell tickets. You have a captured audience. Which is actually completely rare and great; it gives you a lot of freedom. When you make a film, you have to do advertisements for the film.

To my crew: Please be reasonable and do it my way. The Captain

I was the female lead in a romantic comedy. It's a little indie film that we shot in China called 'America Town,' starring Daniel Henney and Bill Paxton. I actually had to speak Chinese in the film. It was funny because I found out I was doing the film and then a week later, I was in Shanghai.

The only way to get a good crew is to marry one.

A certain kind of film is a big theatrical film and a certain kind of film isn't. It doesn't bother me so much that you can pick your format.

Let me put it this way: if I am the leading man of the film, and the film-maker is asking me to support him in a certain aspect so as not to burden the budget of the film, I will do whatever I can to support his vision.

I taught a master class in film in France, and that was a great experience because I got a chance to study the French film culture and the French film history, so to add... just to expand myself just personally and professionally was really helpful.

Abhishek Chaubey has been in my bucket list for a long time. When he approached me, I thought it's for a film he is producing, but I never expected my fourth film to be an Abhishek Chaubey film.

This January, Kevin Costner will be honored by the Palm Springs International Film Festival for his contribution to film. This gives Costner just two months to make a contribution to film.

Making an independent documentary film is so hard that usually, the usual model is that your film becomes a model for advocacy, so you can enlist that support group and get as much juice out of your film as possible. That's just practically, financially, what you need to do.

If I wasn't a trader, I would probably be in the film business in some capacity and writing in some other form. I went to NYU Film School and London Film School.

The fact is that you could not be, and still cannot be, a 25-year-old homosexual trying to make it in the British film business or the American film business or even the Italian film business. It just doesn't work and you're going to hit a brick wall at some point.