Top 1200 Film Criticism Quotes & Sayings - Page 4

A film is one small voice among other large ones. The film is a tiny part of the discourse. You do what you can but under no illusions of what a film can do.

I'm very troubled when editors oblige their film critics to read the novel before they see the film. Reading the book right before you see the film will almost certainly ruin the film for you.

Men in authority will always think that criticism of their policies is dangerous. They will always equate their policies with patriotism, and find criticism subversive.

I got a little criticism for working with Puff [Daddy] and I got some criticism for doing the special but you have to weigh the good with the bad. I got more of a good response than bad when I did those two things.

There must be courage; there must be no awe. There must be criticism, for humor, to my mind, is encapsulated in criticism. There must be a disciplined eye and a wild mind...There must be a magnificent disregard of your reader, for if he cannot follow you, there is nothing you can do about it.

You learn from any criticism. You learn from any self-criticism. And you learn from when you do things the right way: you try to keep going.

I find that male directors are more interested in what the film looks like as opposed to what the film is about emotionally. My job is not to make the film look pretty, and I don't feel drawn to making myself look pretty within the film.

Criticism pretty much follows anything anyone ever does. So, anytime anyone ever writes a song, plays a show, or does whatever they do, there's going to be a certain amount of criticism because that's kind of what happens.

My father was extremely loving to me and funny and wise and understanding, and at other times extremely demanding, critical, calculating, exacting. When you're a young woman, I think you want to please a lot, so maybe you accept more of the criticism than you would as an older person. But criticism can be very wounding. It certainly was to me.

My introduction into the film industry happened with 'Masaan,' which was a multi-star cast film. I was just a part of the film.

Film is so much to do with perfection and how differently you can feel about someone at the beginning of the film and the end of the film.

African films should be thought of as offering as many different points of view as the film of any other different continent. Nobody would say that French film is all European film, or Italian film is all European film. And in the same way that those places have different filmmakers that speak to different issues, all the countries in Africa have that too.

I'd like to do an action film, a full-on comedy film, family dramas and a soulful romantic film.

Pedants make a great rout about criticism, as if it were a science of great depth, and required much pains and knowledge--criticism however is only the result of good sense, taste and judgment--three qualities that indeed seldom are found together, and extremely seldom in a pedant, which most critics are.

The Company of Wolves doesn't belong in any category, so it's difficult to prepare an audience for it. It's not a horror film, it's not a fantasy film, it's not a children's film - so what is it?

Expressions of sharp and even violent criticism of religion and the church have been welcomed, for they usually imply sincerity of thought. If caustic criticism of religious institutions and practices is irreligious, then Amos, Isaiah, and Jesus were very irreligious men. In fact, that is exactly what many of their contemporaries took them to be.

You choose the film, and then the film chooses everyone else; a film decides everything on its own.

I considered going to film school; I took a course in film and was very interested in filmmaking as well as film writing.

"Fish Tank" [my favorite woman-directed film] by Andrea Arnold. The film is so beautifully shot, and I love the raw energy of Katie Jarvis, who plays the main character, Mia. She is not a professional actress and she provides the film with a sense of realism. To me, the film feels so complete and superior.

You gotta deal with a lot of people, the naysayers... but I've always been the guy who kinda just smiles and laughs at it. I use it as constructive criticism to be honest. Whether they're intentionally trying to be kind of spiteful or not, it's constructive criticism because you can't say there's always truth to it but there's definitely something.

"Bruce" was an Eddie Murphy film, so there was a whole different vibe, working on that film, as opposed to working on a [Adam] Sandler film, which I'd done a few of. First of all, there were tons of kids running around. I'm surprised I ever had a kid after doing that film.

Look at 'Dulhe Raja.' It was a film made very quietly on the sidelines, and suddenly, when the film was released, it struck gold. I never expected the film to do well.

When we express our needs indirectly through the use of evaluations, interpretations, and images, others are likely to hear criticism. When people hear anything that sounds like criticism, they tend to invest their energy in self-defense or counterattack. It's important that when we address somebody that we're clear what we want back.

I'm willing to take criticism all day long from Fox News. But I'm not willing to accept criticism from Fox News of the men and women of the Portland Police Bureau.

Film noir is not a genre. It is not defined, as are the western and gangster genres, by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood. It is a film 'noir', as opposed to the possible variants of film gray or film off-white.

Everyone has a right to an opinion. I can arrive in England and express my opinion. If criticism were ferocious and without intellectual objectivity they should show me the way to their airport. It is important to have an opinion and not be afraid to express it, knowing there will be criticism.

Every inch of my writing career has been influenced by my screenwriting education. I was lucky enough to go to film school at USC, and I got a crash course in how to tell a story efficiently. I learned structure, pace, my style, how to know your audience, and most importantly, how to take criticism and edits properly.

[On The Waste Land:] Various critics have done me the honor to interpret the poem in terms of criticism of the contemporary world, have considered it, indeed, as an important bit of social criticism. To me it was only the relief of a personal and wholly insignificant grouse against life; it is just a piece of rhythmical grumbling.

Talent has no gender. People are hiring young male directors right out of film school, off of a student film or off of a film at Sundance for millions of dollars. You can do the same with a female. It's not a risk about the work if you respect the film that they made.

On another level this film talks about that. We had tremendous freedom while making this film. We never thought about marketing. It wasn't a film made to sell merchandise or products or to reach millions of people around the world. It was a film made to say what I really felt.

Many people value criticism in the early stage of a relationship, but become allergic to it over time. Remember this: No one can survive in a marriage (at least not happily) if they feel more judged than admired. Your partner won't make use of your constructive criticism if there's not a surrounding climate of admiration and respect.

The biggest misconception about me is perhaps that I film all the time and film everything randomly. The truth is I film very little and always when something excites me and seems to mean something for the film.

I am doing what I want to. It doesn't matter if it is a Karan Johar film or a regional film or a short film.

I made some changes, I didn't go around telling everybody I was ready to make changes, I just remained me. I may get more criticism today in putting this book out than I have. You know, maybe this is my time, but I'm ready to take the criticism and answer anybody's questions.

Silence Of The Lambs? is a ?fantastic? film. It's a horror film, and it's an incredibly well-told film that is about point of view in such a unique way. The way that film is shot, the way the eyelines are so close, if not directly into camera, betrays an intimacy with the characters and the audience.

I don't want to grow a thick skin. Some people say, "Oh, you're an actress, you have to get used to criticism." But I don't accept that. I'll never get used to criticism, and I'll always care about whether or not people like my performances - because I'm an entertainer, and I want to please.

Personally speaking there's only so long you can go from film to film to film. There's an inspiration an actor gets from the stage.

I am an actress. My first film was a Telugu film, my second film was Bollywood, and third was Indo-Chinese.

I would have to say I might do some stuff, but it's the film that's appealing. I was raised on film. My musical experience is all via film, it's not from classical music.

When I begin a film, I want to make a great film. Halfway through, I just hope to finish the film.

A film is not a documentary. And what's wonderful about film is that it's a real provocation for people. I never, ever see film as being an absolute version of the truth.

Due to the political nature of film, partisan film making, especially where the subject is close to the film makers hart, tend to be the norm, rather than the exception.

Film can express things that computers never will. Film is a series of photographs separated by split seconds of darkness. Film is light and shadow.

A lot of what I've written in criticism of my lust for virtue - my discovery that I've committed idolatry, making of the good an idol - is open to the charge of being still caught within the dialectic of idolatry. I've made a moral criticism of my moral consciousness. Meta-idolatry.

If babies held the same tendency toward self-criticism as adults, they might never learn to walk or talk. Can you imagine infants stomping, 'Aarggh! Screwed up again!' Fortunately, babies are free of self-criticism. They just keep practicing.

I didn't start out my directorial career with a dance film, as I knew people thought a choreographer will easily make a dance film. And even with a non-dance film, I had delivered a successful film.

With the right movie, 3D can enhance the experience. Absolutely, it can make a good film a great film. It can make a great film a really amazing film to see .

I hope people like me in the film and love the film because I think 'Befikre' is a very sweet film.

I've always been interested in film, so to get involved in any way in the genesis of making a film or music for a film is fascinating to me.

To me, a revolutionary film is not a film about a revolution. It has a lot more to do with the art form. It's a film that is revolting against the old established language of cinema that had been brainwashing the people for decades. It is a film that is trying to find ways to use sound and image differently.

Yet the transgender lobby aggressively attacks any critical voice as transphobic and tries to censor us from speaking. There is a big difference between criticism and transphobia. The transgender lobby knows that censoring criticism allows the accusation of transphobia to prevail and appears willing to distort the words of those they disagree with.

Whenever the protagonist of the film becomes bigger than the hero of the film, the film is bound to become a hit.

I did New York, I Love You which is a very personal film for me. My most personal film, but it's not like a film I've ever made. I would never do that film as a feature, for instance, because it's not very commercial of an idea.

I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.

I'd never read 'Prince Caspian'. I watched it and loved that film. Everybody was talking about its lack of success; its relative success in comparison to the other film. It's a great film. It deserved to do a lot better than it did. It's very difficult to make a film that will match up to the first.

The visual is sorely undervalued in modern scholarship. Art history has attained only a fraction of the conceptual sophistication of literary criticism. Drunk with self-love, criticism has hugely overestimated the centrality of language to western culture. It has failed to see the electrifying sign language of images.

With The Exorcist we said what we wanted to say. Neither one of us view it as a horror film. We view it as a film about the mysteries of faith. It's easier for people to call it a horror film. Or a great horror film. Or the greatest horror film ever made. Whenever I see that, I feel a great distance from it.

I pretty much believe that a film is a film and when an audience watches a film, they finish it.

There is something that might be called cinematic beauty. It can only be expressed in a film, and it must be present for that film to be a moving work. When it is very well expressed, one experiences a particularly deep emotion while watching that film. I believe that it is this quality that draws people to come and see a film, and that it is the hope of attaining this quality that inspires the filmmaker to make his film in the first place.

You can't operate a company by fear, because the way to eliminate fear is to avoid criticism. And the way to avoid criticism is to do nothing.