Top 1200 Film Stars Quotes & Sayings - Page 18

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.

My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.

I think I spent my entire childhood on film sets, surrounded by film-makers and actors and people with magnetic energies who make movies.

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.

Even if the film doesn't come out quite as you'd hoped, the process can also be very rewarding. I feel that way about a film called 'Lay the Favorite' that I made with Stephen Frears. I did that because the character was a real leap for me. The film doesn't quite all add up internally, but I feel very proud of what I did on it.

I think I'm a pretty cliché actor in that I hate watching myself on film. I don't know why it should be humbling to see yourself on film.

It is no secret. All power is one in source and end, I think. Years and distances, stars and candles, water and wind and wizardry, the craft in a man's hand and the wisdom in a tree's root: they all arise together. My name, and yours, and the true name of the sun, or a spring of water, or an unborn child, all are syllables of the great word that is very slowly spoken by the shining of the stars. There is no other power. No other name.

Releasing a film through DTH is a double-edged sword. The opinion formed following the premiere of a film can mar or enhance its business.

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.

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 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.

When I make an American movie it's going to come out all over the world-it doesn't happen the same way for an Italian film or a French film.

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.

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'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 think it would be really fun to film a drama in a foreign country. If the opportunity presents itself, I want to film a Chinese production.

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.

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.

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.'

('Eraserhead') may seem like a dark film, but my father and I watch it, and all we do is laugh. It was Disneyland everyday on the set. That's when I fell in love with film.

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.

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.

Digitization has altered the nature of the film industry. Social media, especially, has become a decisive factor in determining a film's box office success.

The Hindi film that I recommend is 'Ijaazat.' It is my most favourite film; it is a poetry in itself, and Gulzar Sahab is somebody I am a huge fan of.

Film music should have the same relationship to the film drama that somebody's piano playing in my living room has on the book I am reading.

I'm like most people. We just concentrate on the present. I live right where the film is going through the film projector and it hits the light.

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.

A successful film begins by choosing a director whose creative vision will define the choices made by everyone involved in the film.

If you don't like a film or do a film out of obligation in a comfortable zone, it would be very painful, but when you do something with passion, interest, and belief in it, it excites you.

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.

My favorite film score is the one Thomas Bangalter created for 'Irreversible.' The soundtrack absolutely defines the daymare-into-nightmare feeling you get from the film.

What is a commercial film? I think every film is commercial, as every film makes money.

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 would say the three stages of making a film are the initial 'are we gonna do this,' 'how much will I be paid,' is there a lot of nights, who's it going to be with? The second stage of doing a film is how much fun your going to have doing it. The third stage is was the film a hit?

The first thing I say when people ask what's the difference [between doing TV and film], is that film has an ending and TV doesn't. When I write a film, all I think about is where the thing ends and how to get the audience there. And in television, it can't end. You need the audience to return the next week. It kind of shifts the drive of the story. But I find that more as a writer than as a director.

Film is a director's medium, and a film set is a complicated military structure - I have to keep reminding myself to stay in my place, or all will burst into chaos.

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."

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.

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.

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

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.

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.

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.

The film of tomorrow will not be directed by civil servants of the camera, but by artists for whom shooting a film constitutes a wonderful and thrilling adventure.

Some of the smallest things on a smaller film, to me, are greater achievements than on a big film when you have the resources and the time and everything else.

In the 10 years that I've been a professional filmmaker, the film part of the film industry is really disappearing, right in front of our eyes.

There are more stars than there are people. Billions, Alan had said, and millions of them might have planets just as good as ours. Ever since I can remember, I’ve felt too big. But now I felt small. Too small. Too small to count. Every star is massive, but there are so many of them. How could anyone care about one star when there were so many spare? And what if stars were small? What if all the stars were just pixels? And earth was less than a pixel? What does that make us? And what does that make me? Not even dust. I felt tiny. For the first time in my life I felt too small.

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.

The difference between film and theater is that in film, an actor is sort of under a magnifying glass and everything that they do, just the smallest movement, is very detectible.

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 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.

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.

Monarchy can easily be "debunked," but watch the faces, mark well the debunkers. These are the men whose taproot in Eden has been cut: whom no rumour of the polyphony, the dance, can reach - men to whom pebbles laid in a row are more beautiful than an arch. Where men are forbidden to honour a king they honour millionaires, athletes or film stars instead: For spiritual nature, like bodily nature, will be served; deny it food and it will gobble poison.

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.

In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.

Every time I make a film, I try to do it slightly different. If you're not 100% engaged and interested, then it's not gonna translate into a successful film.

I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.

If you make a film, that magic is not there, because you were there while shooting it. After writing a film and shooting it and being in the editing room every day, you can never see it clearly. I think other people's perception of your film is more valid than your own, because they have that ability to see it for the first time.

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.