Top 1200 Film Crew Quotes & Sayings - Page 7

It is always a pleasure to work with a Malayali crew, regardless of the language of the movie.

The next film I'm making is a horror film, and I'm making it with A24. It's a dark break-up movie that becomes a horror film, set in Sweden. That's all I can really say now. It's called 'Midsommar.' Everybody's been spelling it wrong. It's 'midsummer' in Swedish.

The crew, like all Italian crews, was generous, warm, and enthusiastic.

The crew on 'Three Bilboards,' by the way, is one of the best I've ever worked with. And that's not hyperbole.

To find money to make a film, you have to write maybe 50 pages to explain what you'd like to do, what the film will be, but everybody lies. Because he doesn't know what the film will be. Everybody writes 50 pages and sends it to a TV channel, a producer, to get money, but everybody lies. Or else your film is not interesting.

The chance for mistakes is about equal to the number of crew squared.

Great thieves go Scott-free, as the Pope and his crew.

In France, you're with the crew, and you have lunch with them. It's more like a family.

If people get inspired by 'Baahubali' as a film, and they realize they can make a big film or a historical film which has good drama and good visuals, if they realize there are good stories to tell here, then it is good.

'ABCD' is an out-and-out dance film. I also dance in the film. I must say you would see better dancers than me in this film. It was very tough for me to match their steps.

I was a young film student around the time of the new wave in film in the 1970s; old Hollywood was naff and over. For me, as a film student, I was going to see French and Italian cinema; American cinema was 'Easy Rider' and 'Taxi Driver.' Everything was gritty.

Well I love preppy style; I like J. Crew for guys.

I would make a huge distinction between theater improvisation and film improvisation. There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage. But in a movie, it has to be real, and the characters have to look entirely real because it's being done as a faux documentary, so there are even fewer actors that can do that on film.

Film schools are now nearly 50-50 male-female, and women are also well represented at festivals and in indie film. But what happens to them after they direct their first film or short? Where do they go? They certainly aren't being given the same opportunities as their male counterparts.

It's a matter of pride to me to get the film done fast, to get it done well. I understand the need for compromise. There is no such thing as a perfect shot, a perfect film. The purpose of film is not to make a monument to oneself.

If I want to support my family and my crew, we have to be on the road, and that's really tiring.

The way you set up for a sequel is by having a successful film. The focus is on making a successful film, and making a film that travels around the world, and that people enjoy and have fun with, and that people are able to escape with.

If I could put in 100 per cent effort to make a film, then a dance film would require that I put in 200 per cent. Making a regular film is much easier.

We're all humans. Any human can tell any human's story. I don't want to have this conversation about black film or white film anymore. I wanna have conversations about film.

But every crew that makes it to orbit is lucky. Spaceflight's not easy.

In terms of the spaceship Earth, the wrong crew is in command, and it’s time for a mutiny.

For me, the challenge of a period film is that, unlike a contemporary film where the character can be very free-form when it comes to the acting, there's a burden to acting in a period film because you have to stay within the character's historical background and the gestures of certain periods.

I'm looking forward to working with some of the best cast and crew there are.

I live in Vermont, and we don't have a tax incentive there, and therefore, we don't have professional crew there.

Your crew is featherweight, my gunshots will make you levitate

It's always amazing to me how hard the crew works.

I feel a tremendous responsibility to my crew, to my cast, to every guest star that comes on.

No member of a crew is praised for the rugged individuality of his rowing.

It never hurts to have friends around, so that's why you'd form a crew.

I will do a big-budget film. I will do an indie film. I will do a short film. I will do a digital platform show, television, and even theatre. I don't have any restrictions in terms of platform as long as the content is something that I find interesting.

The Columbia is lost, but the dreams that inspired its crew remain with us.

I hate to write and spend months just waiting for the film to get financed. Then when you start preparing the film and you shoot it, you've already forgotten why you wanted to make the film in the first place. I like to have some kind of coherent energy that takes you through writing, preparing, shooting.

Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.

Commercials are also any opportunity to meet new crew and work with new kind of rigs. You can explore working with different people without having to make the full commitment of having to do an entire feature film with them and see whether you like them. Also it's great for testing out new equipment, like on the last spot we just did, I used a lot of drone technology, really cutting edge drone stuff, more than I've ever done before, and it worked out really really well.

Well cult is a word you would never say in Hollywood. 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!"

When I was going for my graduate degree, I decided I was going to make a feature film as my thesis. That's what I was famous for-that I had my thesis film be a feature film, which was 'You're a Big Boy Now.'

'Red Knot' is a film that I shot in Antarctica almost three years ago on a boat. It was a film that was improvised and it had very interesting circumstances while making the film, obviously. We were on a small boat bobbing around in Antarctica. It was a really remarkable experience.

I started my career with her. I was supposed to do my first film in Tamil in which she was the other heroine. The film was titled 'Vennira Aadai.' It was a love triangle, with Jayalalithaaji and I playing the hero's two love interests. But the director Sridhar removed me from the film after a few days' shooting.

There's no more film. Film is gone. We photograph digitally and electronically. We don't really use film the same way anymore - it's disappearing little by little. Things change. We have to change with them. There's no point in liking or not liking it. It is what it is.

I went to Oberlin College, and they don't have a film major, but they do have what's called an individual major, where you can sort of pitch to a committee your own course study, and if they approve it, you have essentially just designed your own major. So Oberlin doesn't have a film major; they do have a film minor... And then my spring semester of my junior year, I went off to NYU film school as a visiting student - they have a program for kids from other schools to come in for a semester.

Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.

NYU Film School was the way to learn about film, to be exposed to film, to go to repertory houses, to be exposed to New York and see films. I would go to the library and see one, two or three movies a day.

'Black film,' unless it's lucky enough or creative enough, or timely enough to build a life of its own, hangs subjacent to 'white film' on Hollywood's financial score board... aided and abetted by the supposition that so-called black film has no foreign market.

It's hard to act terrified when you have 200 crew members around you.

Good films can be made only by a crew of Dedicated Maniacs.

My heroes are the camera crew and the electricians. They work such long hours.

A family ship will never sink until it is abandoned by its crew.

If I have to choose between a Bollywood film and Pakistan film, it may sound cliched, but I will go with the script first. And if both the scripts are equally good, then I will choose a Pakistan film.

It will be an honor to work in the remake of Rajinikanth sir's film. I will be producing as well as acting in the remake of his film 'Moondru Mugam.' I'm a huge fan of his film and I'm really excited to be part of the project.

I've framed houses, worked on an asphalt crew, I was a cop, a lifeguard.

I went back to Dallas for a little while to finish my short film 'Rusty Forkblade.' It was not the instant success I thought it was going to be. There's a false narrative that if you make a short film right after senior year, you'll be plucked out to make a feature length film, and the rest is history. I didn't do that.

When I do a film score, I am basically nothing more than a fancy pencil for hire. I don't own any of the music when I am - it belongs to the film company - and likewise, when I am done, even if I come up with something astounding that I may want to revisit... in the world of film composition, you can't do that.

We have to do immigration reform while the pro-deportation crew is still reeling.

I've actually done more [music for] films than television. I love the process of writing for a film. I love that you are creating this suite of music for a film, that's all tied together sonically and thematically and hopefully people associate with the film. They all are meaningful to me in different ways.

If you take 'Agni Natchathiram,' it is about two half-brothers and their emotions and those are genuine, which can be made into a very hard-hitting film just that it can be presented in an entertaining fashion. Similarly with 'OK Kanmani,' it is a genuine film; it is not a flippant film just for commercial purposes.

And Walker was made with a Mexican crew, although it was shot in Nicaragua.

I'm so attached to Patsy and her crew, and to the adventures we've taken them on.

If forced to choose my favourite film, I would have to say 'Raging Bull' because it was the first feature film I worked on, and it was like having pure gold in my hands. But my husband's film 'The Life and Death of Colonel Blimp' is equally a favourite because of its enormous emotional power.

In Hindi film industry, the maximum one can do is try and make a film like 'Badhaai Ho' or 'Andhadhun,' but if I want to make something of the level of 'Kanchivaram' it is impossible. If I will make that kind a film, it will have no traction.

Make the film that you love. When you find a film that you love, every molecule of your being will be moving in the direction of making the best film you can possibly make. This should be your default mode of operation.