Top 1200 Film Stars Quotes & Sayings - Page 16

The crime film is the most honest American film.

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.

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.

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.

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.

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.

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.

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

When you're working with movie stars, part of the deal is that, if they have something to say, you'd better listen. You don't have to absolutely listen and not talk, but there is another creative force at work, and to be successful working with movie stars, you have to bring that force to work for you. You have to find something that's comfortable for them, and at the same time, that's in the parameters of what you're trying to do yourself.

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.

I never control a film. The film controls me.

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 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.

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.

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

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.

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.

So as I was growing up, my father was always in the middle of making a film or preparing a film. It was a full-time, all-consuming type of operation.

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

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

There are so many interpretations that this film [The Lobster] could be approached from. But Yorgos [Lanthimos] is so specifically minded, he's so clinical in his direction of the film.

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.

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.

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

I try to make each film a different 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.

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.

The film that changed my life is a 1951 film by Vittorio De Sica, 'Miracle in Milan.' It's a remarkable comment on slums, poverty and aspiration.

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

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.

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.

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.

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.

I've made some great movies. 'Risky Business' still stands up. It's timeless. They study that film in film school.

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

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.

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.

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.'

I think when you work on a Woody Allen film the actors become a real company, probably more than on any other film.

Since I have spent so much time with film-makers, and I understand the process, I would love to direct a film some day.

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

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

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

The first stars tremble as if shimmering in green water. Hours must pass before their glimmer hardens into the frozen glitter of diamonds. I shall have a long wait before I witness the soundless frolic of the shooting stars. In the profound darkness of certain nights I have seen the sky streaked with so many trailing sparks that it seemed to me a great gale must be blowing through the outer heavens.

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.'

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.

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.

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.

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.

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.

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.

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.

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!

What eventually counts is whether your film was successful at the box-office or not, or more so if the film has made its money, and 'Race 3' did that.

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.

Stars die and reborn […] They get so hot that the nuclei of the atoms fuse together deep within them to make the oxygen we breathe, the carbon in our muscles, the calcium in our bones, the iron in our blood. All was cooked in the fiery hearts of long vanished stars. … The cosmos is also within us. We're made of star stuff. We are a way for the cosmos to know itself.