Top 1200 Film Star Quotes & Sayings - Page 19

I have been working on one film at a time. One film recovers a little cost and that helps me move on to the next one.

If you go to see a film with a woman you love, then even if the film is bad, you can hold hands and laugh at it.

Being horrible in a big film is a quicker nosedive than doing an obscure film and making no money.

I'd rather have a small part in a big film or good story than do a solo film just for the sake of it.

I'm not sure if I want to direct a film, but certainly, as an actress, I'm always thinking, 'Surely this must be my last film.'

Each film has its own fate, and you can't go through personal emotions based on the highs and lows of a film.

I long to make films. I'm dying to be inside the next film. I always hope there will be another film.

Regardless of what film you make, you want people to watch your film, and you ultimately need commercial success.

I think that film festivals, we're very often given to understand, are about filmmakers and about films and about the industry of filmmaking. I don't believe that they are, I believe that film festivals are about film audiences, and about giving an audience the encouragement to feel really empowered and to stretch the elastic of their taste.

I would say, look, any fighter that's out there or any star athlete - not star athlete in the sense of a baseball player, but like a Brock Lesnar - that really wants to fight, we're going to have a conversation with them. Because if they can move the needle, we're going to want them on Spike TV.

'The Missing Picture' is about my story and my parents. Before this film, I never said 'I' in a film, so it is very personal.

In an action film, you think of things that are almost impossible to do and yet you have to manage to show them as being possible on film.

My skin still crawls if you call me a movie star. I get embarrassed. I think, don't be ridiculous. Maybe it's because I'm British. To me, Julia Roberts that's a movie star. But when people do call me one, that, I think, is an enormous compliment but, my God, is that a responsibility!

Every time you make a film, you want to do it in a genre that is different from your previous film, so that there is something fresh about it.

The world is only tolerable because of the empty places in it...when the world's filled up, we'll have to get hold of a star. Any star. Venus, or Mars. Get hold of it and leave it empty. Man needs an empty space somewhere for his spirit to rest in.

When you are acting in a film, you are only worried about your performance and how the film will shape up.

My skin still crawls if you call me a movie star. I get embarrassed. I think, don't be ridiculous. Maybe it's because I'm British. To me, Julia Roberts, that's a movie star. But when people do call me one, that, I think, is an enormous compliment but, my God, is that a responsibility!

Explorers depend on the North Star when there are no other landmarks in sight. The same relationship exists between you and your right life, the ultimate realization of your potential for happiness. I believe that a knowledge of that perfect life sits inside you just as the North Star sits in its unaltering spot.

I saw 'Birth' at the Sundance Film Festival with a thousand other strangers, and I couldn't believe that was me in the film. I didn't recognize myself.

I think it remains a film-by-film process, and since I am relatively selective and slow, it can take a while.

Now because the film industry is what it is, if people are expecting a certain film genre and they're not getting it, there are howls of outrage.

I made a French film called "Merry Christmas" which is a very European film. It's a World War I piece.

Some people have told me they remember the film that one of my images is derived from, but in fact I had no film in mind at all.

Because a composer's soul goes into a film, they should do the entire film, even the background score. If not, then don't do it.

A gem of a short film has a sense of pure joy in animation that is different from anything you see in a feature film.

When art in general, and film in particular, succeeds is when it pulls you away onto a voyage. Then it's a good film.

To think of a film from the point of view of a tank barrel is already so inhumanly positioned. This is when film can reveal itself scandalously.

My partners are Gourov Dasgupta and Roshan Balu. Together, we're 'Superbia'. I've already signed some film and non-film assignments.

In a film, there are too many characters. If the film is not a hit, then nobody really notices your work.

If I bring anything to the Coen Brothers' films, it's my ability to change tack and create a different mood from film to film.

The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.

Look, I'm just a storyteller. When I make a film, I never want the film to become a vehicle of social propaganda.

The Limits Of Control is not surrealism, but it is an experiment in which expectations are deliberately removed: expectations for narrative form, for action in a film, for certain emotional content. We wanted to remove those things and see if we could still make a film that was a beautiful film experience, with deliberately removing things many people would expect.

There's two aspects of film crafting that I'm very strict about, and that's how I move my camera and where I cut the film.

The life of a film is very strange. Once the film is done, you wish you could forget about it and move on.

I got a chance to act in a film, 'Derailed.' I was having a recurring nightmare, and after doing that film, the nightmares stopped.

I'm still not ready to come back and 'And Once Again' is just a one-off film that I'm doing. It's not my comeback film.

After my first film, I was having trouble finding a second film. I had a lot of attempts that failed.

The problem is whether we are determined to go in the direction of compassion or not. If we are, then can we reduce the suffering to a minimum? If I lose my direction, I have to look for the North Star, and I go to the north. That does not mean I expect to arrive at the North Star. I just want to go in that direction.

If it's a good work of adaptation, the book should remain a book and the film should remain a film, and you should not necessarily read the book to see the film. If you do need that, then that means that it's a failure. That is what I think.

When I did my first film, I didn't have formal training; I didn't work under any director. I really didn't know how to make a film.

I'm a film maker, not a crusader. I know a film will not change the world. If it can make a difference to a few that's good enough.

You don't set out making a film that will rake in 100 crores; you just want to make a good film.

For the regional film industry, it's a great feeling that a Dev film is being seen as a competition to a Salman movie.

Once the censorship board clears a film, there should not be any other obstacle for a film's theatrical run.

I have always believed that if a film has only two characters, but they do not make any sense, then the film's meaningless.

When I take up a film, I always think of the effect it will have on my children when they see the film years later.

Basically, actors arrive in a bubble. They have a little sealed bubble around them and it's basically [comprised of] their agents, their last film, their next film, their press agent, and their per diems - all these things, they cocoon themselves with and you have to puncture that bubble on each of them to make them be in your film.

I'm not really premeditative in any way at all. I come up with an idea, hopefully for a film, and then I'm lucky enough to do the film.

How can you work in film and still see the overt racism that exists in film and not just be furious all the time?

The prime motivation in making almost any film is success, because film is the art form of the 20th century.

Up until then, whenever anyone had mentioned the possibility of making a film adaptation, my answer had always been, ‘No, I’m not interested.’ I believe that each reader creates his own film inside his head, gives faces to the characters, constructs every scene, hears the voices, smells the smells. And that is why, whenever a reader goes to see a film based on a novel that he likes, he leaves feeling disappointed, saying: ‘the book is so much better than the film.

I'm really into acquiring film paraphernalia - that's my hobby. I love old movie posters, cameras and film reels.

If you need to get in physical shape for a film and you have to maintain that for six months, at the start of the film, I was never able to do it.

I would never be in a film just for the sake of being in a film, so I am waiting for the right role to come along.

Alec Guinness classed up that movie [Star Wars]. Nobody else in that movie knew how to act. Nobody else had a clue of what they were doing. The young guy was a complete loss, absolutely couldn't act his way out of a bag, but Alec Guinness carried that movie. He was such a class act that it elevated the film to be a joy to watch.

I think the idea was to make a horror film that became a science-fiction film with a lot of melodramatic tropes.

I made a French film called 'Merry Christmas' which is a very European film. It's a World War I piece.

I got into film school thinking I was going to make features, like every other film geek.

I did a few documentaries as co-director and cameraman. I started off shooting a film about the war in Rhodesia. Then I did a film about an 'around the world' yacht race with a friend, and we spent nine months on a yacht. The film was about how people get on in confined spaces under extreme stress.