Top 1200 Film Star Quotes & Sayings - Page 20

The crime film is the most honest American film.

It's hard to see a film one time and really "get it," and write fully and intelligently about it. That's a review. That's not film criticism.

I have always thought if you are going to make a film, it's much better to have an original script that will play to film's strengths.

The film room teaches you how to do the job, how to study the game, how to teach the game from film. How to create an advantage for your team by knowing your opponent, and all their plays and tendencies. And there's no better guy in the world that I've been around than Jim O'Brien at breaking down film.

My brother knows more about film sets than I do, because he works at New York Film Academy.

What challenges me is this - I want to walk out of a film with the experience of having done a film, not with a feeling that I have sleepwalked through it.

I never control a film. The film controls me.

A film is a great deal about what you see, and the silhouette of a character tells you a lot. I'd love to go into film costume.

You can do a short film in three to four days, and then you can show it. Look at the careers you seen go either through Tropfest or outside of Tropfest. You can make a short film in a couple of days, and if it's great, it can go in the Internet or go to a film festival like this one or another.

I don't think discovery of a new planet has a huge meaning for children now, but what it means is the world they're growing up in is very different from children of previous generations. We had Star Trek, Star Wars and Futurama - and we still do - but for children today, they will grow up in a world where other stars were known.

I think everyone agrees First Contact was our best film, and even at that, they're kind of... I don't know, they're sort of movies. But they're kind of really Star Trek movies, if you take my meaning. It's hard for me to say. I was glad to be doing them. Whether they were good isn't really up to me to determine, and it doesn't matter what I think. I thought we had a really nice script on Nemesis, and the audience didn't seem to care for it, so what can you do?

I was never serious about Bollywood films, but when I was offered a film like 'Shanghai,' I took it because it is a good film.

When Laura Poitras asked me if she could film our encounters, I was extremely reluctant. I’m grateful that I allowed her to persuade me. The result is a brave and brilliant film that deserves the honor and recognition it has received. My hope is that this award will encourage more people to see the film and be inspired by its message that ordinary citizens, working together, can change the world.

I would love to make Madhuri Dixit dance. If I do a film with her, it definitely has to be a 'Madhuri Dixit film'. I don't want to cast her in a small role. I will do a full- fledged dance film with her.

At the end of the day, regardless of whether you're doing a huge budget film or a small budget film, you still want the film to do well, and have people see it. That's the whole point. You want to put some kind of message into your films, and you want people to see it.

The basic idea of making this film was that even if one person is touched by the thought in the film, then my job as a storyteller is done.

It wasn't long after I began writing Star Wars that I realized the story was more than a single film could hold. As the saga of the Skywalkers and Jedi Knights unfolded, I began to see it as a tale that could take at least nine films to tell - three trilogies - and I realized, in making my way through the back story and after story, that I was really setting out to make the middle story.

I really discovered [Dr.Strange] through hearing about this film and first meeting Scott [Derrickson] and getting into it and just opening up and saying, "Okay, this is, like all comics, very much of its era," and my first question was, 'How do you make this film? Why do you make this film now?' and the answers were so enticing that I was like, "I'm in."

I remember till 997th film, but after that I got so busy with multiple projects; I'm not sure which one released as my 1,000th film.

I turned down a film that was offered to me in the very early '80s, a Scorsese film. That probably wasn't a good career move.

The rules are: The only ego is the film, and you have to serve the film.

And you know, we did it as an independent film, and we weren't expecting it to be on television, and Lifetime ended up buying it. And the viewers responded intensely to that film.

'Newton' is a very Indian film but resonates with people all across. And that's the reason it got great response at the film festivals.

To be honest, I hadn't realised the greatness of film music till I was exposed to film songs after I started living in Mumbai.

For me it sounds weird saying that the filmmakers respect the film. I don't imagine that there's other ways to make a film, but unfortunately there is.

With the birth of social media, a film gets left behind if the actors don't go and present their film and energy to the public.

I try to make each film a different film.

For film fans to support 'The Imitation Game' means so much to me, the entire cast and film-making team.

Even when a film is finished, when I direct a film, sometimes it's a dark profession, but it requires a peculiar form of courage that I admire.

Post 'Pink,' I don't have any film which I can pick out from my filmography and say 'It would have been better if I hadn't done this film.'

Our feature film, 'Crouching Tiger, Hidden Dragon Two,' has a built-in fan base from the original film.

After finishing my study in Film and Television Institute of India (FTII), I was mentally prepared for the struggle in the film industry.

I did photography in summer camp; I did it in high school. The only hard decision I've had to make was whether to go towards photo or film. And I ultimately realized that the type of photo I was interested in was actually photojournalism. And it's a very individualist career, whereas film is a very team-driven medium. So that's why I chose film.

I'm always looking at film, studying myself, comparing and contrasting with film of the great linebackers to see what I need to work on.

I was delighted with the film [Payback: Debt and the Shadow Side of Wealth]; it almost made me want to be a film-maker!

'Hard Boiled' is my last film in Hong Kong, before I moved to the U.S. It is the one film which is most accepted by the audience in the West.

Focus should be on the art of film, not on the business of film.

I bristle a little when the argument for film gets put into the nostalgia ghetto. Film is still the highest quality and best-looking image capture medium available. I don't think it always will be. The digital image will get better, and it will eventually surpass the quality of the film image, but it isn't there yet.

It's different as a guest as opposed to being a star of a series. A guest star is a whole different responsibility. It's much different than being a regular. You come in, and it's a lot of unfamiliar faces, and you want to try to fit in as best you can, but also you want to stay there without making waves.

If African film makers had one-tenth the amount commanded by film makers the world over - even the amount used by so-called shoestring film makers - I think we would see quite an explosion of African films on the world scene.

Every single one of us who has been a Woman in Film for more than five minutes is sick of the phrase Women in Film.

When a film like Chris Nolan's Memento cannot get picked up, to me independent film is over. It's dead.

When a film is successful, you don't need to shout about it from the rooftops. I don't believe in going into overdrive. There's no desperation to be acknowledged as the reason for a film's success.

When you do a film, all you want is to make the best film possible. You don't think about Oscars. But it's really flattering. Please, bring it on!

I'm always searching for a signature sound and melody that resonates with the film and audience and becomes integral to the film, game, or show.

'Neerja' is such a solid film. Everything about the film has substance, be it sound, writing, story, background scores, or direction.

Success of a film is not only based on the film being good or bad. A lot of other factors are involved as well.

It'll be the Internet and piracy that will kill film. There's a philosophy that the Internet should be free, but the reality is that piracy will destroy the film industry and film as an art form because it's expensive to make a movie. Maybe you'll have funky little independent movies, and it'll go back and then start up again some other way.

Now I realize that I have to let everyone take what they have to take from the film. No matter what I think about the film, it becomes a little irrelevant. I think I would say that the film is trying to show us that - and I spoke about that earlier - we have to let the teachers invest in their own classroom. There's no use in trying to control everything. Education is fundamental.

Those who saw Kite Runner loved the film, for the most part, people seemed to really like the film.

I will tell you that I'm a bit of a snob. I love film, and I would like to work in film, and I'm disappointed that indie film is as hard as it is to work in now. It's hard to get things done, but that sort of work is being done on TV. That's what I do; that's what I write. It's what I love, and hopefully, that's what my future's going to be.

I'm not judging the films. People make these connections through a film, or because they know them. But the fact that they erase them and have to start from scratch, I think that's an important point. A lot of kids, when they have a camera, have tended to do remakes of existing films. You have a lot of kids that make Star Wars. And I think that's creativity, but not as much creativity as starting from scratch.

I have seen this whole process of films releasing, becoming hits or flops, for too long now to expect things to do well. If I expect a film to do well, then it is for somebody else's sake, not for my own. I do my work, and if you feel that my work is improving from film to film, then I have done my part of the job.

When you make a documentary film, after many years the only thing you remember is what you put into the film, not what you took out.

If you are going to call a film a 'black film' then you have to make a film that represents everyone that's black, which is almost impossible. That is why white films are not called white films, they are just called 'films.'

In Iranian cinema, all the lying takes place before making the film. In order to be able to make the film, you have to lie.

I think your behavior is different when you work on digital or film. It seems that... I feel most focused if I'm working on film.

I'm very lucky to say that I worked with a lot of directors who cannot make a bad film. Like when Wim Wenders, they cannot make a bad film. They can make a film people don't like, or it's the wrong moment.

I've never been to film school. I had to leave this country to make a film. All they would let me do in Hollywood was be a messenger.

I think there are always actor parts, and then there are movie-star parts, and an actors always an actor until he does a movie-star part.