Top 1200 Film Stars Quotes & Sayings - Page 17

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 finish a film not in the editing, but in the conversations that audiences have with themselves - and in that sense, every viewer is making a slightly different film. And that's wonderful.

Film is my hobby, so I will work well through the night to develop films, whatever film I'm doing or dream projects I have.

I feel I am blessed. So many actresses went without doing a period film in their career, and I got a chance to do one in my first film.

A period film, where you, for example, where you have a traditional wardrobes, you are bound to act a certain way. But in a modern film, a lot of body gesture.

When you do a film like 'My Soul to Take,' and people think it sucks, that hurts. We put a lot of work into it, and it's a good film, but you go on.

I must say here in France I had more serenity or security as I was working because I knew I was making the film the way I wished and that the film would be seen, ultimately, which is not always the case in Iran. In Iran, you always work having in mind this worry of will I be able to carry on my project as I wish and will the audience see the film.

My Toussaint [Louverture] film is in limbo. We still hope after all this time that we can find another way to get this film done.

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.

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.

Poets say science takes away from the beauty of stars-mere globs of gas atoms. Nothing is "mere". I too see the stars on a desert night, and feel them. But do I see less or more? ...What is the pattern, or the meaning, or the why? It does not do harm to the mystery to know a little more about it. For far more marvelous is the truth than any artists of the past imagined it.

I've enjoyed living in New York for the last 10 years, where there's a real film culture, with the Film Forum and Lincoln Center.

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.

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.

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.

Back in the day, I was keen on working on a film with the superstars - Mammootty and Mohanlal. But they wanted me to make a film with them in Tamil.

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.

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.

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.

I don't think his life has been in any way disfigured by the film. The film did disclose some difficult facts.

I always felt that with an Antoine Doinel film, Truffaut was taking a vacation, that Francois could relax when making a Doinel film. All of the language came to him very easily. 'The 400 Blows,' I felt, was a collage of all his childhood experiences. Every time he felt an Antoine Doinel film was necessary, he'd make one.

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

Germany led the world in photography and film: 'The Cabinet of Dr Caligari' and 'Metropolis' are works that, to this day, film buffs revere.

I am honored to be a part of that film. It has a really important message, embracing one's individuality. It was the most universal film I've ever read.

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.

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.

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 am so proud that 'Up' is Pixar's 10th film. I think it's the funniest film that we've ever made and also one of the most beautiful.

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.

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.

Growing up, a film was an action film or it was a comedy or it was romantic, but you don't really see such stark lines between genres nowadays.

You can be accepted in a film which is amazing, and the same person can be rejected in another film whose content does not resonate with people.

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

Cannes is one of the biggest film festivals across the globe, and getting your film selected for a screening is quite a big achievement.

'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.

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.

I'm not particularly interested in working with movie stars. It depends on where you come from, I suppose. Why are you making films? The reason I want make films is because they convey ideas. I think some directors make films because they want to hang out with movie stars and be part of Hollywood. They want to be a star themselves.

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.'

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.

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.

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.

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.

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.

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

I can't do a film after having debated it. I am unable to do a film while discussing it with my team. I issue directives. I do not achieve it otherwise.

I try to be straight when I communicate with my audiences through a film. I'm not sure whether I have been successful. I don't watch my film once they're in theaters.

When you work so hard on making a film, it's all worthwhile when you get to experience seeing that film with an audience who thoroughly enjoy it and react to the movie.

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.

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.

I've studied film a lot, so I know much more about film than music, but I don't think I could have made films.

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.

'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 Steven's [Sebring] view of what he saw in traveling and working with me. But on another scale, I think the film [Dream of Life] is very humanistic: It touches on motherhood, death, birth, art, laundry, anger against the Bush administration... While I don't think it's the kind of film where one goes to find some of the darker, edgier aspects of life, the film was born of grief.

With every film, I try and give the audiences a little more than the previous film in terms of comedy, action, drama and so on.

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.

I became a film director, but I wasn't successful with my first couple of films, so I had to turn to becoming a film critic to make a living.

Sometimes I feel indie directors are in the game so they can make a film to get hired to do a big film - that we're all doing this person's reel.

'Avunu' is a thriller, suspense film set within a small family with a good mix of scary and funny moments, but not a horror film.

A film is not a vehicle to accuse, or to relay a specific message. If we reduce a film to this, we lose all hope for cinema to ignite a richer conversation.

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.'