Top 1200 Film Criticism Quotes & Sayings - Page 5

Phantom Films is an established production house and it will help to spread awareness about the documentary film 'Katiyabaaz' among the audience. I saw this film and I loved it. Then we decided to support this film.

Farber had a huge effect on me as a writer. I don't mean I write like him. Farber is, first of all, a great stylist, a great writer. Anyone can read Manny Farber's film criticism, whether that person is a novelist, a poet, another critic, a historian, and learn a lot about writing by reading him.

Therefore, criticism has to direct itself against itself, and against the mysterious Substance in which it has up to now hid itself. In this way criticism must resolve things such that the development of this Substance drives itself forward to the Universality and Certainty of the Idea of its actual existence, the Eternal Self-consciousness.

Parents still have primary responsibility for raising children, but they must have the power to do so in ways consistent with their children's needs and their own values.... We must address ourselves less to the criticism and reform of parents themselves than to the criticism and reform of the institutions that sap their self-esteem and power.

If you ask a filmmaker to analyse his own film, it would take three or four years to do that, honestly. Because when you make a film, you have to be convinced about it. You are married to that film for a year.

When you're making a film, you don't really have time to consider what the whole of your film is. And then, when you're releasing your film and promoting your film, you're looking at it in a different way. Then, as you move away from it, you start to look at it objectively and think, 'What could I have done better?'

Every time you make the right choice in the face of potential criticism you build strength that makes choosing the right easier the next time. When you make it clear that you will not vary from your standards, you will be led to individuals like yourself and the criticism from others will become less intense.

I was writing a film criticism book on Sergio Corbucci, the director who did the original Django. So, I was kind of getting immersed in his world. Towards the end of the Inglourious Basterds press tour I was in Japan. Spaghetti Westerns are really popular there, so I picked up a bunch of soundtracks and spent my day off listening to all these scores. And all of a sudden the opening scene just came to me.

I've always believed that if you want to really try and make a great film, not a good film, but a great film, you have to take a lot of risks.

I think that the campaign that Fox Searchlight has thrown for 'Sound of My Voice' honors the film's roots and the film's integrity, and I don't think it overwhelms the film at all.

I did a film which was considered an independent movie with Dustin Hoffman and Andy Garcia called Confidence, and that's the type of film I was willing to take a chance on that because of the caliber of people involved with the film.

There will always be critics. On one hand, criticism can be positive. On the other hand, criticism can be negative. But critics will always be watching the game. If you listen to everybody, you can go crazy. I have my own point of view, and I always try to keep it.

'Toofan Singh' is a Punjabi film based on a terrorist. The Pahlaj led CBFC banned the film because according to them the film glorifies terrorism, and that might give a wrong message to today's youth. However, the film has been released in many countries, and has been received warmly. Unfortunately, it never saw the light of day in India.

My favorite film is "Meshes in the Afternoon," a short avant garde film directed by Maya Deren. This was the first film that I saw that was actually directed by a woman.

I shot film with the Coen brothers on 'Hail, Caesar!' That's fine. I'm sentimental about film; I've shot film for forty years or something.

Bitter criticism caused the sensitive Thomas Hardy, one of the finest novelists ever to enrich English literature, to give up forever the writing of fiction. Criticism drove Thomas Chatterton, the English poet, to suicide. . . . Any fool can criticize, condemn and complain - and most fools do. But it takes character and self-control to be understanding and forgiving.

In one sense, you put a lot of yourself into a small press - it's your personal tastes that are on the line - so when criticism is levelled it can feel personal. But, on the other hand, it can be very welcome and necessary. You're never entirely impervious, and one of the main benefits of being a small operation is that you can change the way you do things quickly in response to criticism. In all instances it pays to have a sense of humour and perspective.

I got into film in an odd way - when I was 17 years old I participated in a Swedish film as an actor. I think every person at that age should get a role in a film, because during that time you want acceptance, and when you have a role in a film you become an important person. I think about that now, and that was my fantastic starting point.

If you're going to make a film about rage in 2018, 2017... If you're going to make a film about revenge and anger, I feel like that has to be a film about women. I don't really want to watch a film about angry men. I've seen way too many of those.

Oh my God, I love UCLA so much. Their film school is great because it's unstructured, so there's a freedom to fail in there and just tell your story, and everybody makes a film. It's so important to have that freedom in film school because that's what you're there for: to learn and make a film.

What was needed was a literary theory which, while preserving the formalist bent of New Criticism, its dogged attention to literature as aesthetic object rather than social practice, would make something a good deal more systematic and 'scientific' out of all this. The answer arrived in 1957, in the shape of the Canadian Northrop Fryes mighty 'totalization' of all literary genres, Anatomy of Criticism .

I've always been real close to film world. I love film, and I will do things in film, but music is more satisfying. It feels more like me.

Read as little as possible of literary criticism - such things are either partisan opinions, which have become petrified and meaningless, hardened and empty of life, or else they are just clever word-games, in which one view wins today, and tomorrow the opposite view. Works of art are of an infinite solitude, and no means of approach is so useless as criticism.

Hindi film industry makes film for the rest of the world. Tamil films are watched by Malay people. When a film is not bound by a language, why should an actor be?

As I talk to film students now especially, I say, "The easiest job you'll ever get is to try to make your first film." That's the easy one to get, is the first film because nobody knows whether you can make a film or not.

I waited for each film to become important for me. If I had no ideas for a film, I didn't do a film. So I made not that many films for fifty-four years of working.

The truth is 'Akaash Vani' was not a young film. The second half of the film was quite mature. It's unfortunate that not many people have seen the film, so I am still associated more with 'Youth Centric Films'.

When I met Bono at the Cannes Film festival while I was there for the film 'United 93,' he said to me, 'That's a great film, brother. Thank you for your courage in making it.' I plotzed.

In Surojit's film, 'Pagol Hawar Bodol Din,' I am a villager. Victor Banerjee is also part of the film. The uniqueness of 'PHBD' is that the whole film is like a poem.

I have gained a lot of confidence in my process of making films. It does't mean I'll make a successful film or even a good film, but I know how to make my film.

I want to write a score for a film. It can be a proper film, maybe for a film kind of like... I saw that movie 'Drive', or a bit of a 'Blade Runner' vibe. A little bit sci-fi, but I don't know. I've just always wanted to write a score for a film.

I don't mind critics. I mean, I wrote for Rolling Stone for a hot minute. I like criticism. I enjoy criticism. The thing I don't like is cruelty for cruelty's sake. You don't have to be a jerk to say something negative. You can say something in the negative sense and have class.

Whenever I finish a film, I feel that this is the worst film that I have made. This is bound to happen because while writing, directing and editing a film, I would have lived it 5000 times. Naturally, one tends to loose objectivity.

Wine is similar to music in that it's a purely experiential realm, and it's a purely subjective practice. That's sort of the funny thing about wine criticism or, for that matter, music criticism. At times, those are useful guides, but ultimately it's all about how you react to that music or wine.

Failing once doesn't make you a failure. One difference between a successful person and an average person is how much criticism they can take, the average person cannot take much criticism and that's why they fail to be leaders and they do remain average all their lives

It's a very good thing for students also to be exposed to people who aren't film students or film scholars but who work in the world of film.

That's the process of making the film and it isn't until the world puts their eyes to it that you find out if it's creating any kind of connection at all. But every single film at some stage of the film I think, "I wonder what this is going to be?"

(in the film "That's Entertainment!" - 1974) Thank God for film, it can capture a moment and hold it there forever. If anyone ever asks you: "Who were they?" or "What made them so good?" I think a reel of film answers that question.

Film students should stay as far away from film schools and film teachers as possible. The only school for the cinema is the cinema.

Every single Pixar film, at one time or another, has been the worst movie ever put on film. But we know. We trust our process. We don't get scared and say, 'Oh, no, this film isn't working.'

Major film stars tend to do a film and then have a couple of months off. I'm not a major film star; I'm a jobbing actor.

I think that what people abroad want from French film, inside French film becomes our worst fear, "Oh, another film about love!"

I don't think a heroine-oriented film has the capacity to pull an audience like a hero-oriented film in any film industry.

I had many years where I just worked from film to film to film. And then all of a sudden I went: "Where did I put my bags down? Where's my little place I call home?"

But in film you always watch situations or stories that you really have no relation to. A lot of times just because there's no personal connection doesn't mean you can't connect with the film or the characters in the film.

I guess my first digital movie was 'Tintin' because 'Tintin' has no film step. There is no intermediate film step. It's 100% digital animation, but as far as a live-action film, I'm still planning to shoot everything on film.

The weekly cartoons, as were my plays, came from a sense of criticism, criticism of the times, critical of the culture, of our manners and attitudes towards each other. The children's books come from the reverse. They're more supportive, since we're living in a time where we talk more about kids and do less, we talk about balancing the budget and we do it by cutting education.

The premiere of Lynne Ramsay's film of 'We Need To Talk About Kevin' at the Cannes film festival provides an apt juncture at which to celebrate the miraculous power - not of film but of fiction. Lo, I have created a monster.

I'd say for a film composer, 'Star Wars' is kind of like the holy grail of film music. It's probably the best film music ever written.

All in all, I'd like to venture into film. Films are my staple diet, so I would love to be part of a feature film, independent film... it all just depends on the story and the people behind it, really.

I'm a believer that people need to understand that filmmaking is not a perfect process for anybody. It is a process in which you find the film and the film finds you. And that is every film.

I loved American filmmakers when I was growing up. I didn't get to film school or anything. I was a very bad student. I just devoured film, but there was a point in my teens when I started to run a little film society.

Patriotism without criticism has no head; criticism without patriotism has no heart.

There's a film you write, there's a film you shoot, and there's a film that you cut - and they're all different.

I would say that no film is apolitical. There are politics in all films. Any film that is anchored in a society, any film that deals with humanity is necessarily political.

I was a child in the '60s and a teenager in the '70s, which was the golden age of film as far as I'm concerned, between American film and the Italian reinvention of genre film.

For me, when I choose a script, I put my heart and soul into it, and that is exactly what I look for in a film. A good film is a good film. And if it's a bad film, irrespective of whether it's made 300 crores or 200 crores or any amount of money, it doesn't matter to me.

Every film for every actor is a make-or-break film. I believe every film has the power to break you or make you. So, an actor will treat every film like his last film. That's the way we need to work, and that's the way you can drum up that passion needed to do good work.

'Hudugaru' is a remake of the Tamil film 'Nadodigal.' The film is about what happens when relationships between friends or lovers is taken casually. The film will appeal to youngsters and families alike.

There are few teachers from the film industry to guide newcomers. One can see a gap between the film industry and those teaching at film schools.