Top 1200 Film Critics Quotes & Sayings - Page 4

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.

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?'

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

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.

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.

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

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.

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.

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.

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'.

'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.

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.

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?"

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.

'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.

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.

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.

(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.

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.

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.

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.

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 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.

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

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?

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.

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.

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.

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.

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.

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.

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.

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.

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 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?"

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.

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.

I would have been a lot more nervous if I would had known that Matthew McConaughey was [on 30th Annual Television Critics Association Awards] and Julia Louis-Dreyfus was there and all that, and I was like, "Wait a minute and Bryan Cranston's here..." I think I would have got more nervous. But I think thinking it was just like, "Oh yeah critics, we're good." It was great.

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.

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'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.

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.

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

I never think anyone will like what I do. I'm always terrified the critics won't like my film and of course you always count the people who leave at the screening. They are on your death list. The people who stayed, stayed because they wanted to. You see it in a different way with an audience. And when the screening Is over it's such a relief. It's such a struggle.

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

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

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.'

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.

"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.

Most critics write critiques which are by the authors they write critiques about. That would not be so bad, but then most authorswrite works which are by the critics who write critiques about them.

Book critics or theatre critics can be derisively negative and gain delighted praise for the trenchant with of their review. But in criticisms of religion even clarity ceases to be a virtue and sounds like aggressive hostility. A politician may attack an opponent scathingly across the floor of the House and earn plaudits for his robust pugnacity. But let a soberly reasoning critic of religion employ what would in other contexts sound merely direct or forthright, and it will be described as a 'rant'.

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.

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?

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.

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

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.

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.

Well, I think critics are very useful. But I think that they, in a way, betray their position when they stop people looking for themselves. Judgment is very easy, but I think, on the whole, professional critics maybe see too much, and compare too much, and forget the joy of actually looking and contemplating for its own sake.

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.