Top 1200 Film Set Quotes & Sayings - Page 20

I was very happy to learn Oliver Stone had decided to make a film about Edward Snowden and believe this is a powerful and inspiring film.

American film isn't just film and glamor and fame and the lives of people who are fortunate financially. Those aren't the only stories in this vast nation. That's my mandate.

Mike Leigh taught me about making choices - as an actor, you choose between being honest and clever, and with Mike, it's always about being honest. I learned how to behave on a film set from Jim Broadbent. He was a great example of someone with a fantastic career who kept his feet on the ground.

There is also an artistic element which is lead by the film maker. Issues of what is reality and objectivity are as always relevant as someone is going to edit the film.

When I did my first student film, it was a ten minute film and it cost $U.S.4,000. I worked three jobs to pay for that and I haven't really slept since.

There is a scene in one comic from the '60s-'70s where Batman finds a film, a newsreel film, of his father. This newsreel film is from the '50s, and his father has come to this costume ball in a Zorro costume, which strangely enough looks a lot like a Batman suit in the footage.

I'm not a genre film filmmaker. I'd rather look for a topic that I think we need to bring up and discuss because there's something about the issues in the film.

To be honest, when I started watching VR content, I was mostly disappointed and thought people could do better - not that different from when I set out to make 'Swingers' and thought, 'There's a better way to make an independent film.' Which is why 'Swingers' ended up being so much less expensive than anything like it.

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

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

If a film promotes communal harmony, which for me is beyond religion, I am happy to work on it because the film's premise is in line with my beliefs.

I'm completely at ease on a set. I'm pretty comfortable most places, but hitting the mark and knowing set etiquette and understanding cameras and lenses are second nature. It's a language I've spoken for years.

I would rather portray the hero if it's a really great film. All my favorite fictional film characters are heroes, such as in 'The Last of the Mohicans' and 'Robin Hood.'

Freedom can't be kept for nothing. If you set a high value on liberty, you must set a low value on everything else.

I approach every film as my first film.

I would rather portray the hero, if it's a really great film. All my favorite fictional film characters are heroes, such as in "The Last of the Mohicans" and "Robin Hood."

We petitioned to get access to film [Suffragette] at the Houses of Parliament and we whooped with joy when we were allowed in, as this is the first ever commercial film to shoot there.

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.

That's why successful people in every field are almost universally members of a certain set - the set of people who don't give up.

Usually, at the end of a film it's like I've finally gotten to know this person completely, and then we're done. That actually happened on the set of Twilight, and then it happened again on New Moon. Each time my character Bella became a different person, and I got to know that person and take her to the next level.

No critic writing about a film could say more than the film itself, although they do their best to make us think the oppposite.

In our game, it's your vanity that keeps you in shape. I've got a little gym set up, and I ride a single-speed bike up the hills behind my house. Lately I've been kind of a slacker. Usually it's a film role that makes me start getting in shape. Between roles, I try to do a little maintenance, but I'm not a workout fanatic at all.

I played Mary Joe Fernandez in the semifinals. She was winning the first set. Second set was very close. I started to play this aggressive game. I think I surprised them.

To be as good as our fathers, we must be better. Imitation is not discipleship. When some one sent a cracked plate to China to have a set made, every piece in the new set had a crack in it.

'Shank' is set in 2015, and it's set in a post-apocalyptic world where the main commodity is food. It's about how five young gentlemen travel around that harsh terrain and survive.

Film maker Andi Olsen has a wonderful short film called Where the Smiling Ends. She waited at the Trevi Fountain in Rome and filmed the tourists only at the moment after their photos had been snapped, the moment their smiles dissolved. It's genius and heartbreaking. I think about her film when I explore the places the strips malls meet the wild world they are eating up.

I was about 6 or 7, I would have said I wanted to be an actor and an artist. And that just kind of kept honing itself around film and getting closer to film.

This is indeed not only relevant to Documentary but is evident is most type of film making. The film often mirrors the experience, understanding and politics of the director.

The film I think was a good film for what it was designed for. It was for kids. Unfortunately the critics slashed it before it even started but that is just the way the cookie crumbles.

I don't really set out to explore grand themes. I set out to tell a story. And one I have to be able to imagine right through.

I didn't go to film school. I was never an assistant or trainee on a film. I had not seen all those cameras. So I think it gave me a lot of freedom.

The thing is, as a film director, you're essentially alone: You have to tell a story primarily through pictures, and only you know the film you see in your head.

The first film that I saw of Shammi Kapoor was 'Bhramachari.' I instantly fell in love with the film and connected with Shammiji. His style was natural and unique.

When I am playing the protagonist of the film, before the release, I feel a certain pressure because I become the face of the film, then, and I have a major responsibility.

I've always felt that, although Truffaut was greatly revered and admired, at the same time, in terms of film and how much he loved film, he was underestimated.

I've never even seen a great set fight or a great set meltdown. I seem to always be on these incredibly relaxed sets.

The parts of a film should be in proportion to the whole, and a long film pasted together out of quick little scenes makes me dizzy.

My dad made a film called 'Willow' when he was a young filmmaker, which screened at the Cannes film festival, and people were booing afterwards.

I always thought that the location of this film [Girl In The Train] was on the train and inside her imagination, and her loneliness and her gaze out the window.Although it was set in England, it didn't feel to me like an overly English book. In terms of the use of cultural references, it was not extreme, so it was very simple to go from England to America in the adaptation.

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

I don’t write things to benefit the world. If it happens that they do, swell. I didn’t set out to do that. I set out to have a hell of a lot of fun.

You can be moved by a performance on set, but when you see it on screen, it does nothing. Yet there will be someone you simply didn't notice on set that on screen: bam!

I like a no-drama set. I welcome visitors by and large; I like music playing on sets between set-ups - all that stuff.

If it takes you three years to set up a studio, and you've made one track with that setup, then the logical thing to do is not change anything and just do another one using the same set of sounds.

I try to set up a playful atmosphere on the set so that they don't get tired too easily. They know it's work but they can also have fun, and when it's time to dig deep inside of them, they can go there.

Every once in a while I'll find a new way of playing something, it will suggest itself. But generally speaking, there's a set sonic potential, and that's in concert with a set instrumental technique.

One does not have to get frustrated with getting an opportunity, whether it is film, short film, web series or TV shows... As an entertainer, opportunities have expanded.

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.

A planar geometrical figure with more than three vertices can be decomposed into a set of triangles, and it can be reconstructed from a set of triangles.

Usually, at the end of a film it's like I've finally gotten to know this person completely, and then we're done. That actually happened on the set of 'Twilight,' and then it happened again on 'New Moon.' Each time my character Bella became a different person, and I got to know that person and take her to the next level.

The physical life of the scene is determined by whether the set squeezes people together or whether the set has an escape place in it.

I revisit stories and see if they are still living and breathing, because if you do a film you live with that story for another year. I can't do a film in six months and scoot.

It proved to be pretty impossible to get funds for a feature film in Finland. It's still small, but the film industry was miniscule at that point in the early '80s.

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.

It's better to set a big goal to try and then fail than to never set a goal in the first place.

Everyone talks about how we're on our phones all the time, but the fact remains that when I'm away on a film set for two months, I can Skype my family. I remember the phone calls my parents had to make when my dad was away for a while when I was younger - that once-a-week expensive phone call! The time pressure on talking to your father!

Some things definitely work better on film than in books. Introspection is great in books but it doesn't work on film. Anything with high intensity, whether it's a love scene, a car chase, a fight scene - those things work so well on film and oftentimes they can tell a much broader part of the story.

I felt very comfortable on a set - incredibly comfortable on a set, which is a real gift because that can be hugely intimidating.

The makers of 'Ushakaal' said that if I don't do the film they would shelve the project. I didn't want a good subject to be shelved because of me so I went ahead and did the film.

The idea the actors are the most important people on a film set I think is very stupid. Actors are the most replaceable people there. There are literally millions of us. There's very few people that can operate a steady-cam. The numbers are a lot, lot fewer for that, you know?