Top 1200 Film School Quotes & Sayings - Page 4

I just feel like it's so amazing every few years when I'm not making a film to act and basically go back to film school and just watch other filmmakers work and try to be a part of somebody else's vision. So I feel like you do use two very different parts of your brain, and it's great to be able to jump back and forth.

I'm a pretty normal person outside of the film world. It doesn't really affect me when I'm at school or with my mates.

We made 'Mickey and the Bear' with barely any money with a first-time director, a first-time director of photography, and a crew who had just graduated from NYU film school. We were all very much in this together for the first time. There's no famous actor or big explosions. It's not a Marvel movie. I thought nobody was going to see this film.

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.

When I was in school, and even after, I did a lot of classic plays, and I guess it sort of extended into film.

You know when I was a high school student I wasn't a very good student. Upon graduation we were asked if we would become a full working adult or go to university. I decided to go to film school and still to this day I try to avoid being a full working adult.

From the standpoint of the child, the great waste in the school comes from his inability to utilize the experiences he gets outside the school in any complete and free way within the school itself; while, on the other hand, he is unable to apply in daily life what he is learning at school. That is the isolation of the school — its isolation from life.

I even went to film school at School of Visual Arts in New York City. And then, after that, I got a day job at Universal publicity department, then moved over to Disney publicity department. So I had this day job, and at night I would study music.

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.

Grade school, middle school and high school were relatively easy for me, and with little studying, I was an honor student every semester, graduating 5th in my high school class.

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.

The public scrutiny element they don't teach you in film school. So few people are ever subjected to it.

Knowing what I do now, I don't know if I'd ever have the balls to go to film school, with no connections and no knowledge of the business side at all.

I began my filmmaking career by shooting a feature length documentary in China in 2004, the year I graduated from film school.

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.

There's a heresy which is perpetuated by film school that to be a great director you have to write your own stuff.

I told my mother I wanted to be an actress, and the next thing I know is that I'm studying in a very expensive film school.

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.

When I was at drama school I wanted to do classical theatre. It just so happened that I did a film when I came out and I moved that way.

Film and television as a medium has only very recently begun to be taught at the great drama schools in the UK. When I was at drama school in the UK, I was there for two and a half years, and we did one week of television and film. It's right before you leave. It's like, "We've taught you Anton Chekhov and William Shakespeare, you are likely to be in a washing-up soap-liquid commercial."

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.

In Hollywood, one doesn't get typecast. You can play a mother in one film and take up the role of a high school teenager in the next.

I knew from early on I would go to film school and try to work behind the camera.

We decided around fourth or fifth grade that we were going to go to film school.

When I was in film school, it was said that all good films were characterised by some form of humour.

I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film

I spent a year and a half working for an art fair. I worked as a post-production assistant for a documentary film company for a while. Then I worked at the Apple store because I wanted a discount to be able to buy new gear to edit things while I was figuring out whether or not I wanted to go to film school. Those were the main things.

I read the book [ 'Middle School' ]! There was nothing specific really, I think everything in the film was great!

Of course, you could, no doubt, call my going to film school the biggest mistake I ever made.

I actually came out of drama school and went into two years of working in film and television, which was a happy accident.

When I graduated from high school, I got accepted to York University, Fine Arts film program.

I studied screenwriting at film school and was constantly learning how to construct three-act dramas.

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.

I used to hold Stanley Kubrick film festivals at my house in high school. These are not cool things.

The first film I worked in was Dev Anand's 'Hum Naujawan.'Then I went back to school and college.

I was in my 30s when I finally went to film school. It was kind of always going to happen, but I did try to keep it suppressed for awhile.

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.

Anyone that is able to put a high school film and gonzo journalism together, it's like, "Yes, please!"

The real trouble with film school is that the people teaching are so far out of the industry that they don't give the students an idea of what's happening.

I didn't go to film school; I studied fine art - I learned how to be a filmmaker on everybody else's money.

You can do all the film school you want in classrooms, but if you are on the set, you are going to learn so much more because you are really in the middle of doing it.

Most of all, I really wanted to become a filmmaker, and I've used every acting experience to just turn it into film school.

I almost became a music major, but somehow I was so enthralled with the camera and becoming a director that I stuck with film school and theatrics.

I didn't go to film school so my learning was done out in public and showed up on the screen.

I never studied film formally at school, but as a kid, I spent most of my time in cinemas.

I loved David Lean, he had a huge influence on me when I was going to film school.

I've been on the board of UCLA Film and TV School, and I went to UCLA. I realized that the same movie theater that was there when I went to school, 30 years later is the same movie theater in the same condition. There was an opportunity to refurbish an existing room, and I jumped at the opportunity.

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 left school with no qualifications, but I was doing theatre and film work and thought that was the best thing since sliced bread.

I was interested in immigration and I wanted to use that in the film, not necessarily to talk about immigrants, although I wanted to do that, but to talk about ourselves through the eyes of an immigrant. The film takes place in the school and it tells us a little bit about who we are and where we're at, but through the eyes of someone who has a different background.

I got interested in the justice system. If I was, I'd probably be a defense lawyer. I was headed that way, but luckily changed my track to film school.

I started in high school, and in college, I studied radio, TV, and film. The plan was to be a filmmaker, and it was always comedy.

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.

I took courses at USC in film editing and art direction and photography when I was still in high school.

I don't subscribe to the school of thought that as a feature film producer I shouldn't dabble in television, web content, or even comic books...

I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film.

My last experience of film-making was Tickets, a three-episode film in Italy, the third of which is directed by myself. It's not for me to judge whether it's a good film or a bad film, but what I could say is that nobody had a cultural or linguistic issue with what was produced.

I conveniently was not accepted to film school, which I applied to in 1987, and so I decided I would become a filmmaker instead of a student.

I watch old school film so that I can learn so much that I just sort of miss all the new stuff.

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 .