Top 1200 Film Set Quotes & Sayings - Page 19

When film director T.K. Rajeevkumar cast me in the role of the iconic Rathi in the new edition of 'Rathinirvedam,' I had no idea it was such a cult film.

My favorite film score is the one Thomas Bangalter created for 'Irreversible.' The soundtrack absolutely defines the daymare-into-nightmare feeling you get from the film.

Every time I make a film, I try to do it slightly different. If you're not 100% engaged and interested, then it's not gonna translate into a successful film.

No film has captivated my imagination more than 'King Kong.' I'm making movies today because I saw this film when I was 9 years old.

Releasing a film through DTH is a double-edged sword. The opinion formed following the premiere of a film can mar or enhance its business.

I was very conscious of the film industry - a lot of people, neighbors, worked in it. I actually grew up doing a bit of extra work myself. I was homeschooled, and it was a way that I could make money. My parents let us do these jobs, and I never got very far, but I was much more interested in what everybody else was doing, and I liked being on set.

If this film has come out so well, the credit goes to Trivikram garu. This one is a 100 percent director's film. He is the real hero of 'A Aa.'

Some of the smallest things on a smaller film, to me, are greater achievements than on a big film when you have the resources and the time and everything else.

I think that there is an air of experience and aesthetic sophistication that weaves in with the amateur aspects of the film [Dream of Life]; it gives the film a certain elegance.

A successful film begins by choosing a director whose creative vision will define the choices made by everyone involved in the film.

After all, film is so porous, and to my mind, so oddly occult, that I think that film itself absorbs odd energies like a living skin.

When I make an American movie it's going to come out all over the world-it doesn't happen the same way for an Italian film or a French film.

I didn't have a lot of independent film connections. It really took until the digital film revolution came along that I realized that I could do it myself.

Every time I try to set something in Chicago, I get intimidated by 'Augie March.' It's easy to set something in Indianapolis - we don't have 'Augie March' here. But I love writing about Chicago, and I love being there and imagining lives in Chicago. I hope to set something there in the future, but it's intimidating.

The difference between film and theater is that in film, an actor is sort of under a magnifying glass and everything that they do, just the smallest movement, is very detectible.

I think I'm a pretty cliché actor in that I hate watching myself on film. I don't know why it should be humbling to see yourself on film.

Film music should have the same relationship to the film drama that somebody's piano playing in my living room has on the book I am reading.

I have made all my films for my children with the exception of my first film because my oldest daughter wasn't born when I was making the film about the Brooklyn Bridge.

What is a commercial film? I think every film is commercial, as every film makes money.

What better way to foray into production than with 'Khaidi No 150.' The film is truly close to my heart because it is my father's 150th film.

Whatever’s inside making me what I am, it’s like film. Film only works in the dark. Tear it all open and let in the light and you kill it.

This is a universal, unique movie, it has potential to cross barriers. But we never thought about that on set, when we were doing the film. We knew that in making a silent movie, we were doing something a little bit under the wire, a bit interdit. It's a pastiche, but for the French taste, you would have thought.

I think quite often, being on the new set is not what you expect. The most serious film can be the most fun. The one that's supposed to be fun can be the most serious. I don't think there are any hard-and-fast rules. I just think it really depends on your director and what the general vibe is.

People will say 'how can you have a plane when your workers are on minimum wage?' I said 'but I don't set the minimum wage.' If the minimum wage would be the living wage, then the Government who set the rules should set it at the living wage. That's how I look at it.

'The Karate Teen' was great, where John Cena kicked me through four walls, or five walls. It was amazing how the film unit put that together. They literally strapped me to a chair and dragged me through five different set walls.

These types of films that are psychologically sort of dark at times, I find extremely exciting to do because there's always something to think about. There's nothing more boring than to show up on set and say a line and know that your character means exactly what they say. It's interesting to have an unreliable narrator in a film and that's what both of those films have been.

I'm accused constantly of having 'no signature.' That's the big artistic demerit. You can't tell a Wyler film from another man's film just by looking at it.

For many years I wanted to do a film, but I never had the courage to clear my desk and say, 'OK I'll take a year off and do a film.'

Hollywood is a film industry, a film business. I don't approach my career in that way. I see it as 'art,' and I become involved in films that ring my bell.

The first thing I say when people ask what's the difference [between doing TV and film], is that film has an ending and TV doesn't. When I write a film, all I think about is where the thing ends and how to get the audience there. And in television, it can't end. You need the audience to return the next week. It kind of shifts the drive of the story. But I find that more as a writer than as a director.

'Tangerine' being my fifth film, I was out of favors. I couldn't afford to get the Arri Alexa or RED cameras and I definitely couldn't shoot on film.

It's more interesting because you get to research the history of the period, and all the different aesthetic elements that make a film, particularly this film, so stunning.

I still shoot film. I like what film does, how it renders things, Also, when I'm shooting from the air, I want to have as large a negative as I can.

Live theatre provides a rush you can't get in film or television. But it is the TV and film work that offers the leisure to go off and do a play.

The Hindi film that I recommend is 'Ijaazat.' It is my most favourite film; it is a poetry in itself, and Gulzar Sahab is somebody I am a huge fan of.

My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.

Music is definitely cheaper and more immediate. But part of the draw of film to me is the multidisciplinary aspect. I always enjoyed film writing.

I started with Tamil film, then Hindi. Now, I am also doing a Telugu film. The journey has been wonderful so far.

Like all art forms, film is a media as powerful as weapons of mass destruction; the only difference is that war destroys and film inspires.

In the 10 years that I've been a professional filmmaker, the film part of the film industry is really disappearing, right in front of our eyes.

If you make a film, that magic is not there, because you were there while shooting it. After writing a film and shooting it and being in the editing room every day, you can never see it clearly. I think other people's perception of your film is more valid than your own, because they have that ability to see it for the first time.

I would say the three stages of making a film are the initial 'are we gonna do this,' 'how much will I be paid,' is there a lot of nights, who's it going to be with? The second stage of doing a film is how much fun your going to have doing it. The third stage is was the film a hit?

Even if the film doesn't come out quite as you'd hoped, the process can also be very rewarding. I feel that way about a film called 'Lay the Favorite' that I made with Stephen Frears. I did that because the character was a real leap for me. The film doesn't quite all add up internally, but I feel very proud of what I did on it.

I don't think RADA wanted me, actually. When I was at Oxford I had a boyfriend at Central [School of Speech and Drama] and it looked like the most fantastic life, but I think not going makes you more free. Nothing can teach you what it's like to work on a film set, and the best education there can be for an actor is to walk up the street and observe human nature.

Film and television are very different. On the TV show, we do seven or eight scenes a day, so time and money are of the essence, and we have zero room for creativity because you've got to do each scene in only five takes. Whereas, on a film, you have an entire day to film one scene, so you have so much time to choose how you want to fill in a scene.

You spend so much time developing a character when you do a film; so much of your work is done before you get set to shoot because you've been working on the character: the way he walks, the way he talks, what might upset him, what might make him happy.

I am happy film stars are singing in their films. I hope to work as a music director for a film where actors will sing all the songs.

In film, movies' schedules are based on three things: actors' availabilities, when are sets being built, when you can rent the place you're going to film in.

The film of tomorrow will not be directed by civil servants of the camera, but by artists for whom shooting a film constitutes a wonderful and thrilling adventure.

If you don't like a film or do a film out of obligation in a comfortable zone, it would be very painful, but when you do something with passion, interest, and belief in it, it excites you.

I think it would be really fun to film a drama in a foreign country. If the opportunity presents itself, I want to film a Chinese production.

In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.

I think that every film should have its own structure, and that's the beauty of film language - is that we get to express that deeply individualistic side of ourselves.

I'm like most people. We just concentrate on the present. I live right where the film is going through the film projector and it hits the light.

Patti [Smith] was my experiment, to be honest. And the film is what we got out of it. At the end of the day, I learned a lot about how to make a film.

It's a funny thing with documentary films - you want them to feel as entertaining and as gripping as a fictional film. With a fictional film you want it to feel as realistic as a documentary film.

I did a film called 'Nightfall,' based on Isaac Asimov life, which was directed by an American director. However it was a short film.

Acting's all about the confidence you exude, especially on film. I mean, nervousness isn't attractive in anyone, but a film camera will seek it out and punish you.

Digitization has altered the nature of the film industry. Social media, especially, has become a decisive factor in determining a film's box office success.

I think I spent my entire childhood on film sets, surrounded by film-makers and actors and people with magnetic energies who make movies.