Top 1200 Film Scores Quotes & Sayings - Page 17

What I love about film is that everybody often connects to something so different, and things you couldn't anticipate when you were making the film, so you just make it as honest as possible.

I'm not trying to be self-serving, but you know, you get to Hollywood, and if you want to make something big and loud and dumb, it's pretty easy. It's very hard to go down there and make a film like 'Sideways,' which I thought was a great film. They don't want to make films like that anymore, even though that film was very successful.

Sidney Poitier and Sidney Lumet were instrumental in helping me get started as the first black composer to get name credit for movie scores.

Harvey Weinstein bought our film, and he's an animal. He's got us out there campaigning and everything because honestly it's a silent black-and-white film.

In this land of unlimited opportunity, a place where, to paraphrase Woody Allen, any man or woman can realize greatness as a patient or as a doctor, we have only one commercial American filmmaker who consistently speaks with his own voice. That is Woody Allen, gag writer, musician, humorist, philosopher, playwright, stand-up comic, film star, film writer and film director.

I went to film school when I was 17, and of course when you are very young you think that there is nothing else in the world except film. At some point I started getting hungry to see something else. For five years I didn't make any films, I was traveling around the world, writing for newspapers, working in theater, working in opera, I thought I would never return to film.

I think for my casting of 'Pati Patni Aur Woh' the makers saw my ad film which I did for a brand and they decided to cast me in the film.

A modern girls' school, equipped as scores are now equipped throughout the country, was of course not to be found in 1858, when I first became a school boarder, or in 1867, when I ceased to be one.

I worked with Jim James on my film 'I'm Not There' - he sang 'Goin' to Acapulco' with Calexico backing him up. We just hit it off, and it's such a beautiful moment in that film.

When I walk onto a film set, I become frightened and nervous. There's all this equipment, all these people, and most of them do things you don't know how to do. I didn't come from a film background.

'Gaana Bajana' gave me an opportunity to experiment with my looks. I played a tomboy in that film, a role that I hadn't essayed before. I have no regrets for having done the film.

In online learning environments, it is often hard to tell whether a student is struggling. By the time test scores are lagging, it's often too late - the student has already quit.

Small events and some songs and dance do not make a film. A film needs to have a proper structure and there has to be an output which would be relevant to people who watch it.

With 'Aurangzeb,' I just knew that the film wasn't going to work, though I think it was one of my most underrated performances. I did the film too early in my career, but I stand by it.

One thing that the audience, and perhaps critics, aren't aware of is that, especially in a film like 'Moonlight,' you always shoot a lot more footage than makes the cut of the film.

To make a film is easy; to make a good film is war. To make a very good film is a miracle.

You shouldn't think about the fate of the films. The film might succeed or fail, but your performance must be good. You should work hard for every film.

So I prefer to do the entire music for a film. And when I'm doing the background score, I can weave the whole film together in terms of themes and songs for a good cinematic feel.

Television is very different than working on film. With films, you get to develop a set of characters, and then, at the end of the film, you have to throw them away.

When student performance shows increases on test scores, that improvement is not associated with an increase in 'fluid intelligence' - that is, using logical thinking and problem solving in novel situations, rather than recalling previously learned facts and skills.

I think it's like the '60s - we're going to see another revolution in film where these new filmmakers stand up and take ownership of what film is and mould it into what they want.

Every part of it is important; the film comes alive when you edit it, the film comes alive when you write it, the film comes alive when you act it, and the same with the directing. They're all the most important part at the time and that's why I enjoy doing it, because you're creating a story and every part is a very integral part of it.

I think after everything in the whole process of filmmaking, temp scores are great if you use them for what they're good for, if you use them for that early stage of support for things.

A film you can explain in words is not a real film.

When you fall down or slip in a situation, and somebody scores a goal, it's normal. These things happen. It happens to me; it happens to other players, I don't care about these things.

It was the beginning of film for television. So we had all of these great opportunities. Northwestern was probably the only major film school of its kind at the time that was graduating anybody important.

On an average, any short film will cost at least Rs. 60,000. Apart from film festivals, where is the avenue to get that money back?

I applied [to film school] figuring, "I need to find some structure for myself. I need to find a way to figure out what kind of filmmaker I want to be." And that is what film school provides you with. It'll teach you the basics of how a production works and the technical side of how to put everything together, but you could also learn that by working on film sets.

After I read the story of 'Dangal' and before the film released, I called director Nitish Tiwari asking him if he had any good script. He told me to wait for some time. So we had three-four sittings, and this film, 'Chhichhore,' came to him. The film did not have superstars, but I felt that this is the script that needs to be told.

We don’t really care about test scores. We care about adult outcomes.

When a film is reviled, you open a film and people say "Oh, it's the stupidest thing, it's the worst movie." You think: oh, nobody's going to ever speak to you again. But, it doesn't happen. Nobody cares. You know, they read it and they say "Oh, they hated your film." You care, at the time. But they don't. Nobody else cares.

I think the scores for Olympic gymnastics are affected by what countries the judge and the gymnast are from. That's wrong. That type of political pandering isn't meant for gymnastic Olympic events. It's meant for the Supreme Court.

I have had several offers to make the book into a film. I don't know if the message could be accurately transmitted, and so I have been somewhat hesitant in granting film rights.

A new study found that students who are taught abstinence end up with better math scores. Of course, if you join the math team, the abstinence takes care of itself.

The universe is specifically tweaked to enable life on earth-a planet with scores of improbable and interdependent life-supporting conditions that make it a tiny oasis in a vast and hostile universe.

I have never been someone who chooses a film according to the language. Since I am comfortable with Tamil, Kannada and Malayalam, the scope of the film is all that matters to me.

While fashion is exciting because it changes all the time, it is also fleeting. Film, though, is forever. In a way therefore, film is the ultimate design project.

I did a short film called 'Disco' and won an award for Best Supporting Actor at an indie film festival, and that was nice. Hopefully there's lots more to come.

'Biutiful' is a tough film. It doesn't make concessions to the vulgarity of light entertainment. It's not the kind of film that you see every day in the Cineplex. But as an artist, it's the thing that I needed to do.

You give your film away to the audience once it's done. I never look at my films after the premier. The film needs to start its own history.

We shot 'Party Girl' on film, and I remember being told, 'We need to get this in two takes because we don't have a lot of film in the mag right now!'

Film as dream, film as music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames a second, darkness in between, the optic nerve incapable of registering darkness.

The most important film I made, in terms of its subject and the great responsibility I had as an actor, was a film I did about the founder of Pakistan called 'Jinnah.'

The audience is making the film and not the film-maker.

I approach every film as my first film.

I think the British industry is set up to support British film, if we make films that enable them to support it. If you don't make a commercial film, distributors can't get behind it. If they don't get behind it, the film doesn't do well.

But I don't think as film-makers it is our responsibility that every time we make a film we should be saying something. If you are entertaining people, that's more than enough.

Apart from the highs and lows of when your film releases, there's a strange, addictive quality that making a film has because of all that drama. There's so much that goes on, and we miss it when it's over.

I'm very attracted to directors who want to experiment. The thing that attracts me the most are people who are trying find a language that is correct for their film, for that specific film.

Most young people make films to be accepted, to be discovered, when in fact that was the last idea with the group I went to film school with. To be discovered was not our intention. Our intention was to tell our story our way, and make our own mistakes and learn from film to film.

Apart from my film, I am producing TV serials and plan to make more films, too. Mine is not going to be one-film-a-year production company as such.

Dolly Ki Doli' excited me because it has unique characters. Though it is a smaller film and without a big star, it is still a mainstream film.

I would like to say to as many people as possible that please go and see the film 'Jaana,' because we all have worked hard to make it a good film.

Over the years I've studied the habits of golfers. I know what to look for. Watch their eyes. Fear shows up when there is an enlargement of the pupils. Big pupils lead to big scores.

It's always fun to get to do independent film because I believe that that's the life blood of film. It's about writers and directors who truly have their own vision, and that's hard.

When you watch a film, a huge part of it is the music and the coloring and everything that comes together to create such a unique film. So, reading the script, I had no idea what it was gonna be.

No matter how many scores I've written, the next project will hopefully be completely different. As hard as it is, I'm always trying to stay fresh, not repeat myself, and come up with original musical ideas and ways of scoring.

I went to the University of Toronto to study the history and theory of film, in the back of my mind thinking I'd go to NYU film school and see if I could make a career of it.

I used to throw on soundtracks, and orchestral stuff would be the only thing I could write to, maybe 'Dead Can Dance' or 'Cocteau Twins' or something. Mostly, it was movies scores that would kind of inspire me.

Sometime ago, I went for a film festival in San Francisco and that's where I met film director Warren Foster and actors Robert Parham and Randy Taylor, by chance.