Top 1200 Film School Quotes & Sayings - Page 3

I'd been an actor in high school, and when I got to college, it was all about film.

Working on '2001' was my film school. Stanley Kubrick was my mentor.

I can't even remember not wanting to go to film school.

We class schools into four grades: leading school, first-rate school, good school and school.

I actually went to film school, but I didn't like it. I'm basically self-taught.

Film school was a privilege I could not afford.

I went to film school and wanted to learn everything there was about making movies.

I love doing research. I'm a film-school geek.

I actually went to film school and was making experimental films for a short time, so it wasn't such a leap.

My M.F.A was in directing, and all the films I've made, for film school and after, I've written, directed and shot.

I was shocked when I looked at art schools in France. There's only one left that does anatomy. Now they do video. They do editing. I would go to film school if I wanted to do video and editing. In art school, it's only new mediums. It's three-dimensional or computer. I found that shocking. No nudes.

Maybe not many women are going to film school.

The thing about film is that your eye is selective. Film isn't. You have to make film do what you want. Simply photographing something doesn't do it. You have to know how to apply light and know what it does on film.

I was really fortunate that I went to a high school where we actually had a film theory program.

There's a lot of dopes in life, and in film school. The interesting people are usually easy to find.

I went back to Jamaica after living in New York and started to work on experimental stuff and basically I grew as a filmmaker. I went to film school; I was a PA on a lot of projects and I worked so hard, you know, you're young and I learned from different mentors. And luck put me in the position to work with amazing people. One of my mentors by the name of Little X, who took me under his wing after I came out of film school and moved to New York. I worked in videos for Jay-Z, Pharrell to Busta Rhymes and Wyclef. I quickly realized how much I wanted to make films instead of music videos.

Sony could have $50 million and a sound stage and A-list actors and never make the same film. The constraints on this film became the essence of this film, became the power of this film.

Because I didn't go to film school, you learn so much from a lot of creative artists.

Once I went to film school, I realized that film directing was actually much better than theater directing, because you kind of get to stay in control of it all the way through. You don't relinquish the piece to the actors like you have to in theater; you stay in control through the very end.

I wanted to go to acting school, and I did a few modeling jobs to pay for acting school. I never aspired to be a model. I met lots of photographers, and I learned a lot about light - as a source of love and illumination, light as a gift of love. On film, that's a massive contribution.

I went to film school to make films just because you're in control of the story.

I had two jobs coming out of school: I did a play, 'The Great White Hope.' I played the boxer Jack Johnson. And I was the lead in this indie film. Then I moved to Los Angeles because New York was cold and it was really too quiet for me at that time. I was out of school; I was hungry. The auditions were trickling in, and I was antsy and ready to go.

To be honest, the core reason why I became an actor was that I didn't want to go to school. That's where it started. I hated opening my history books and my English books, but then, of course, you grow older. I went to film school in New York, and that's when you really realize that you have to grow up now. It's not child's play anymore.

I was a kid who went to film school and fell into acting.

I see all these students, and I admire them - they're trying to learn something, they go to school, they do film school, they go on shoots, they help. I'm sure they learn a lot, and some of them, it makes them aware of what they wish to do. I was - that's the way I was - autodidact.

I didnt go to film school, i went to films

When people ask me if I went to film school I tell them, 'no, I went to films.'

We had this idea, and I think a lot of people did going in, that you can make some short film and it's going to get industry attention and that's going to be your thing. And it was only later on at school that we realized that's very rare that a short film is going to capture the attention of anyone.

Finally, one night we were smoking pot [with Michael O'Donoghue] and talking about the people that are invariably in high school, whether you go to prep school or public school or ghetto school or rich suburban school. And actually, it spun off from a Kurt Vonnegut quote.

I call it a comedy film, but I feel that is because 'Sholay' is a complete film. It is the best in every aspect. You see the music, the editing, dialogues, action, drama, tragedy, and the emotions of this film and you will find everything is perfect. It is a flawless film.

When I was in film school, I was learning more theory than practice.

I never went to film school, so I just sort of learned on my own.

I wanted to be a playwright in college. That's what I was interested in and that's what I was moving toward, and then I had the lucky accident of falling in love with film. I was 19 or 20 that I realized films are made by people. Shooting digitally became cheaper and better. You couldn't make something that looked like a Hollywood film, but you could make something through which you could work out ideas. I was acting, but I was also conceiving the plots and operating the camera when I wasn't onscreen. I got very unvain about film acting, and it became a sort of graduate school for me.

Film school is a complete con, because the information is there if you want it.

I was a political science major before I transferred into film school.

I was cast in a film toward the end of high school. Even then, I wasn't sure.

I teach in the medical school, the School of Public Health, the Kennedy School of Government, and the Business School. And it's the best perch... because most of my work crosses boundaries.

I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.

I never liked 'Donnie Darko' quite as much as my film school peers.

I have no issues if audiences don't like a film or a performance, and the film doesn't do well. My problem is when they say that the film was good and performances were excellent, but the film didn't run. I have a problem when that happens.

I was in school when 'Sholay' was released. I think recreating a film like that is a good idea.

I think to many people the term 'activist film' implies a film with a single point of view - something designed to provoke outrage and urge action on a particular issue - sort of the film equivalent of a rally. 'If a Tree Falls' is not that kind of film.

The film-school mantra is that if you don't tell your own stories, nobody will.

Another part of my background was that I was in film school.

I wish I had gone to a film school.

I don't know if there's ever been a female-driven film or a male-driven film. I don't believe in that. I believe a film is a film - a movie can only work if everything about the film works.

I was getting in trouble at school. I wasn't happy. The school was very much a school that created people for commerce and it wasn't an arty school.

I don't know if one's more typecasting than the other, or what I am more like. But I know that the high school I went to was a private school. It was prep school. It was a boarding school. So we didn't have a shop class. We didn't have Saturday detention. We went to school on Saturday. We did have Sunday study, which you very rarely get, because then you have 13 straight days of school. Who wants that?

I was at film school when I made 'Small Debts' and I was a cinematographer, so I didn't actually study to be a director.

There was a school in Chicago called the School of Design. This was started by [Laszló] Moholy-Nagy, and it was a wonderful school, but we [with Alix MacKenzie] didn't go to that school. We did have friends who went to that school and we would visit there often, and I'm sure it pushed me in my painting direction very strongly just by association.

USC Film School always had a real sense of drama and lineage.

Well, as far as film, either you're making a film or you're making videos. Digital capture is always trying to emulate the range and look of film. I believe personally that film has more.

I went to school for singing, middle school at LaGuardia High School. Followed by Berkeley College of Music and afterwards I went to acting school at the Neighborhood Playhouse for Theater.

When I was in film school I was learning more theory than practice.

I actually went to film school, but I didnt like it. Im basically self-taught.

That movie [Jawbreaker] was so much fun to shoot. We were all in our mid-20s at the time, playing high school students. Which was the point. It was the point of the film to hire older actors to play high school students. But we had a blast.

Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.

When I emerged from drama school, I had no expectation that I would ever work in film.

This is the best film school there is, just to make movies and be there on set.

I went to film school, worked as an assistant, and wrote several scripts that haven't gotten made.