Top 1200 Film Critics Quotes & Sayings - Page 20

I've done really well so far in my career by trusting the audience to be as dissatisfied with convention as I am, as a film-goer. You want to go see a film that surprises you in some way.

Ever since I made the short film 'Black And White,' which had almost no dialogues, the idea of making a silent feature film fascinated me.

I think there are certain technical things about acting that change between working in film and television. Everything definitely slows down and we have more time in film.

Filmmaking involves a lot of passion, hard work, thought process and money. But 'Gandhi My Father' is a selfless film, a film made with complete selflessness. We all went beyond ourselves.

I know it's a film and all of that, and it's a Hollywood film, but it kind of feels like this sometimes, when you're in pain and it hurts, and you're desperate. Or you are about to cross some moral line and it's so seductive and you just do... and all that.

The world may not be ready yet for the film equivalent of books on tape, but this peculiar phenomenon has arrived in the form of the film adaptation of J. K. Rowling's 'Harry Potter and the Sorcerer's Stone.'

I think film and television actually is a lot harder. Acting onstage is physically more arduous, but to get to emotional truth within a scene, it's much tougher to do it on film.

I learned some big lessons on my first film, a horror film which was never released in the U.S., even though we sold it to Harvey Weinstein for a lot of money.

For the film 'Saat Khoon Maaf,' which was adapted from my story 'Susanna's Seven Husbands,' I did collaborate on the screenplay. I even took a small role in the film, of a priest.

I was obsessed with Batman as a kid. I did the film in part just to be near the Batmobile. But I also think [director] Christopher Nolan made a very fine, intelligent film.

'Band Vaaje' is all-in-all a comedy film. But all comic scenes are situational. The jokes are not just for the sake of punches. The film has proper story which we are sure that audiences will love.

In fact my first film ran for about 400 days. It all depends on hype, marketing and publicity, which are actually more expensive than the actual film.

I have equal parts film and digital cameras in my collection. I think that there are ways to Photoshop photos so that they look like you shot them on film, but is that as rewarding? It just depends on the person.

I think the situation in Toronto is such that there are funding organizations which make it easy for a film to raise more money than it needs and very often that works against a film.

When I started acting, there were parts in English that I thought I just had to try it out and go to another country. I did a film in Ireland. It was my first film abroad.

I will die trying to do another 'Baahubali' kind of film. It's not a film that can be easily replicated. I believe only Rajamouli has the experience and vision to handle projects on such scale.

I'm dying to do a masala Bollywood film with typical song and dance. But having said that, my character in the film should have her own point of view. I won't play a role who has no brains.

All my films I have shot in chronological order - always. And the reason is that there's a moment that the screenplay is the notion of the film. But when you start doing a film... the work itself starts being transformed, and you have to surrender.

Once I am done with the film, I don't worry about how many centres the film has released, what are the BO records, etc. As I have no knowledge of such things, feeling the pressure doesn't arise.

'Ramaiya Vastavaiya' means, 'Ram, will you come?' The movie is a remake of the Telegu film 'Nuvvostanante Nenoddantana,' which was my first film as a director. So, it's close to my heart.

For me, filmmaking combines everything. That's the reason I've made cinema my life's work. In films, painting and literature, theatre and music come together. But a film is still a film.

In the finest critics one hears the full cry of the human. They tell one why it matters to read.

There's so many people that are interested in film and especially in terms of the technology side of film, that suddenly the fruits of everybody's labor is really starting to manifest itself all across the planet.

'Aashiqui' became a cult hit film. It was my first film which gave me not just recognition but stardom too, so I will always remain partial to it.

I used to love going on a junket and promoting a film when it was not a 24-hour news cycle, and when there weren't so many media outlets. You could actually talk about the film.

After the blockbuster 'Magadheera,' I made a film with comedian Sunil as the hero. If I am interested in making a film - big or small - I will go ahead and make it.

I want to do more independent film. I'm blessed to be working on really quality episodic television, which to me actually feels like a sort of 13-hour film.

I have a film called 'A Lonely Place For Dying,' which is the most watched film on the Internet, over 3 million hits, more than any of Hollywood's films.

What's the point of doing a great character in a bad film? Instead, I want audiences to thoroughly enjoy a film and remember my part when they walk out of a cinema hall.

At art school you realize that in order to stay engaged you have to ignore the critics, good and bad.

I had directed a short film called 'Girvhi' earlier, on child labour. It was a fictional story. At that time, I realised I could direct a film if given a chance.

I did this film for less money than it costs to stay in this hotel. We shot it in 20 days. We couldn't screw up takes for fun because we didn't have enough film.

When I work on films, I like to be involved from as early as possible. I think this is really good and beneficial in terms of absorbing the atmosphere of the film and for the music to become a part of the DNA of the film.

I don't make movies. I don't feel that I have to have artistic control. Part of this comes from the fact that the book lives on no matter what Hollywood does to your novel in terms of a film. Now, you try to be careful who you allow to do your film because nobody wants their novel to become a turkey movie. But, on the other hand, it is a crapshot anyway, because even the best people can make a bad film.

We have a conservative government that only thinks in terms of efficiency. They are spending a lot of money on military expenses and less and less on culture. My position is that culture can actually be economically viable. When I make a film, the film costs $3 million. Now, in Quebec, it grossed $3.5 million, which is a small film. It's not a comedy. There are no stars in it. And, it still grosses $3.5 million. That's just in Quebec.

'Haraamkhor' is a low budget film. We are not worried about the box office because our film is already in profit. It's got a strong content that will reach people's heart.

You see the film, you might be entertained, and if it's not a great film, it loses its power very quickly. I think even simply acceptable books stay with us a lot longer.

It's true I was approached for 'Heroine' but I couldn't do the film as the dates were clashing with Kamaleswar Mukherjee's film 'Meghe Dhaka Tara' based on the life of Ritwik Ghatak, where I played the lead.

My protest against digital has been me saying, "What's going to happen to film?" The result is that Kodak is out of business. That's a national tragedy. We've got to keep making film.

The normal storyline of a horror film or a slasher film is the young, beautiful college folks go camping and get systematically killed by the person in a mask. So that's how it normally is.

Independent film is such a huge deal in the UK. There aren't many big budget studio movies that get greenlit at all. The indie film industy is a great opportunity that I'm trying to seize.

The only critics who annoy me are the ones who come to my shows even when they're clearly not fans of my work.

The nuts and bolts of shooting a film and writing a film are still really difficult. But what makes it easier is the fact that you know you're going to go to work with your best mate.

The song 'Bolo Naa' from the film 'Chittagong,' which got me the National Award, wasn't even promoted in India, whereas the film won laurels all over the world.

You become a film critic because you're interested in film. I don't know whether knowing so much about cinema leads you to make better films, but it certainly can't hurt.

Clearly any film company that makes a film is always going to talk about sequels particularly if they see something as being successful, which Werewolf was.

My job is to make a film that can sit as a standalone piece, that if it's the only Marvel film you see, it's a great film with a great story in and of itself. The lucky thing is that there's a bunch of geniuses who run Marvel that make sure, even if it's a standalone piece, that it's part of a great big jigsaw puzzle that could be appreciated as a whole as well.

I'll probably always write film scores. It's the one place where a composer has almost unlimited resources at his beck and call. When music you have written works well in a film, nothing can beat it.

A film is a film and it has to be good to be inspired. That's number one. It can be Italian, French, German, American. It's moving images in front of you and with a strong director who injects his point of view and artistry.

Learning how to do some of the technical work on the film can be helpful too and allows you to start the film on your own. However, if you are passionate about an idea, just begin.

The key relationship for writers in film is producers, because those are the first two people involved and the ones who work on it intensely in a private way without the big machinery of film.

My sense is that you can make a film under almost any circumstances. As long as someone has a vague idea of what he's doing, something distinctive will emerge. That, to me, is what film making is all about.

It's very rare to get a film script that has good dialogue. A lot of the time, you spend on film sets really fighting to find out how to say the words.

There is always pressure. If you make a flop film then you are under pressure to make a hit film. If you make a hit film then you are under pressure to surpass your own standard or at least deliver another hit because the audience also has expectations.

You have very accurately described the difficulty of presenting my books on film: many of my characters are alone most of the time, and when they do talk, what they say is mostly lies. That can make for a pretty confusing film.

Sometimes I work on film sets. I've done this for 40 years. I always wanted to photograph on the set of an Ingmar Bergman film. Unfortunately, I never had the opportunity.

Honestly, I was not good in my debut film 'Poster Boys.' With my second film, 'Laila Majnu,' I was struggling with everything and I just felt lucky to even get the part.

I don't think that my work appeals that much to the hard-core, avant-garde film audience. They appeal to people who teach film and those establishment figures on the East Coast.

Box office figures are not something that can decide the success of a film on its own, but they are one of the many yardsticks that help me measure how well a film has been received.

My grandma was really sick when I was working on 'Sin Nombre' and eventually died that summer when we were finishing the film. But I was able to bring an unfinished version of the film for her to watch.