Top 1200 Film Students Quotes & Sayings - Page 17

What I love about film is that everybody often connects to something so different, and things you couldn't anticipate when you were making the film, so you just make it as honest as possible.

'Gaana Bajana' gave me an opportunity to experiment with my looks. I played a tomboy in that film, a role that I hadn't essayed before. I have no regrets for having done the film.

I often notice how students can gain the capacity to use certain critical methodologies through engaging with very different texts - how a graphic novel about gentrification and an anthology about Hurricane Katrina and a journalistic account of war profiteering might all lead to very similar classroom conversations and critical engagement. I'm particularly interested in this when teaching law students who often resist reading interdisciplinary materials or materials they interpret as too theoretical.

I would like to say to as many people as possible that please go and see the film 'Jaana,' because we all have worked hard to make it a good film.

I'm not trying to be self-serving, but you know, you get to Hollywood, and if you want to make something big and loud and dumb, it's pretty easy. It's very hard to go down there and make a film like 'Sideways,' which I thought was a great film. They don't want to make films like that anymore, even though that film was very successful.

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.'

I have never been someone who chooses a film according to the language. Since I am comfortable with Tamil, Kannada and Malayalam, the scope of the film is all that matters to me.

I regret that there aren't more short stories in other magazines. But in a certain way, I think the disappearance of the short-story template from everyone's head can be freeing. Partly because there's no mass market for stories, the form is up for grabs. It can be many, many things. So the anthology is very much intended for students, but I think we're all in the position of writing students now. Very few people are going around with a day-to-day engagement with the short story.

So I prefer to do the entire music for a film. And when I'm doing the background score, I can weave the whole film together in terms of themes and songs for a good cinematic feel.

I think for my casting of 'Pati Patni Aur Woh' the makers saw my ad film which I did for a brand and they decided to cast me in the film.

I think it's like the '60s - we're going to see another revolution in film where these new filmmakers stand up and take ownership of what film is and mould it into what they want.

I think the British industry is set up to support British film, if we make films that enable them to support it. If you don't make a commercial film, distributors can't get behind it. If they don't get behind it, the film doesn't do well.

But I don't think as film-makers it is our responsibility that every time we make a film we should be saying something. If you are entertaining people, that's more than enough.

Every part of it is important; the film comes alive when you edit it, the film comes alive when you write it, the film comes alive when you act it, and the same with the directing. They're all the most important part at the time and that's why I enjoy doing it, because you're creating a story and every part is a very integral part of it.

I did a short film called 'Disco' and won an award for Best Supporting Actor at an indie film festival, and that was nice. Hopefully there's lots more to come.

When a film is reviled, you open a film and people say "Oh, it's the stupidest thing, it's the worst movie." You think: oh, nobody's going to ever speak to you again. But, it doesn't happen. Nobody cares. You know, they read it and they say "Oh, they hated your film." You care, at the time. But they don't. Nobody else cares.

Small events and some songs and dance do not make a film. A film needs to have a proper structure and there has to be an output which would be relevant to people who watch it.

You give your film away to the audience once it's done. I never look at my films after the premier. The film needs to start its own history.

A psychologist once asked a group of college students to jot down, in thirty seconds, the initials of the people they disliked. Some of the students taking the test could think of only one person. Others listed as many as fourteen. The interesting fact that came out of this bit of research was this: Those who disliked the largest number were themselves the most widely disliked. When we find ourselves continually disliking others, we ought to bring ourselves up short and ask ourselves the question: "What is wrong with me."

I applied [to film school] figuring, "I need to find some structure for myself. I need to find a way to figure out what kind of filmmaker I want to be." And that is what film school provides you with. It'll teach you the basics of how a production works and the technical side of how to put everything together, but you could also learn that by working on film sets.

One thing that the audience, and perhaps critics, aren't aware of is that, especially in a film like 'Moonlight,' you always shoot a lot more footage than makes the cut of the film.

My tutor was a film director on the side, and she introduced me to film. She then put me in one of her short films, and it came out of that. That's when I fell in love with the process of making a film. After that, I was about 15 and I was like, "This is what I've gotta do." So, I started taking acting lessons, and then I applied to college to do acting. I got an agent, and it all just happened.

The audience is making the film and not the film-maker.

I went to film school when I was 17, and of course when you are very young you think that there is nothing else in the world except film. At some point I started getting hungry to see something else. For five years I didn't make any films, I was traveling around the world, writing for newspapers, working in theater, working in opera, I thought I would never return to film.

I approach every film as my first film.

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.

I went to the University of Toronto to study the history and theory of film, in the back of my mind thinking I'd go to NYU film school and see if I could make a career of it.

For the past three years, the CIVIX Student Budget Consultation has helped us to better understand the most pressing national issues for young Canadians. I am delighted to note that on key issues, such as balancing the budget, debt reduction, and lowering taxes, we stand in step with the thousands of students who participated in this initiative from coast to coast to coast. I want to thank the students and teachers for investing their time and energy in this worthwhile initiative. Their enthusiastic participation inspires great hope for Canada's future.

To make a film is easy; to make a good film is war. To make a very good film is a miracle.

When you're doing a film and the majority of the film is cast black, for me, it's most important to get people to view those movies as just movies, as just good movies. At the end of the day, regardless of the color of the cast, we're all doing the same thing in this business: trying to make a good film.

In this land of unlimited opportunity, a place where, to paraphrase Woody Allen, any man or woman can realize greatness as a patient or as a doctor, we have only one commercial American filmmaker who consistently speaks with his own voice. That is Woody Allen, gag writer, musician, humorist, philosopher, playwright, stand-up comic, film star, film writer and film director.

Apart from the highs and lows of when your film releases, there's a strange, addictive quality that making a film has because of all that drama. There's so much that goes on, and we miss it when it's over.

On an average, any short film will cost at least Rs. 60,000. Apart from film festivals, where is the avenue to get that money back?

We shot 'Party Girl' on film, and I remember being told, 'We need to get this in two takes because we don't have a lot of film in the mag right now!'

It's always fun to get to do independent film because I believe that that's the life blood of film. It's about writers and directors who truly have their own vision, and that's hard.

Filming movies and TV are vastly different. Film is more of slower pace. You usually have more time to develop characters, and it sometimes takes up to 3 months to film one movie. Sometimes you'll spend half the day filming one scene. TV moves much faster. It takes about 10 days to film an episode.

I have had several offers to make the book into a film. I don't know if the message could be accurately transmitted, and so I have been somewhat hesitant in granting film rights.

I'm very attracted to directors who want to experiment. The thing that attracts me the most are people who are trying find a language that is correct for their film, for that specific film.

While fashion is exciting because it changes all the time, it is also fleeting. Film, though, is forever. In a way therefore, film is the ultimate design project.

I worked with Jim James on my film 'I'm Not There' - he sang 'Goin' to Acapulco' with Calexico backing him up. We just hit it off, and it's such a beautiful moment in that film.

The educational system in the US was a highly predictable victim of the neoliberal reaction, guided by the maxim of "private affluence and public squalor." Funding for public education has sharply declined. As higher education is driven to a business model in accord with neoliberal doctrine, administrative bureaucracy has sharply increased at the expense of faculty and students. Cost-cutting leads to hyper-exploitation of the more vulnerable, creating a new precariat of graduate students and adjuncts surviving on a bare pittance, replacing tenured faculty.

I would love to say something really cool, because I did film studies. So, like, a Jean-Luc Goddard film - something like that. But I genuinely would love to be in 'Titanic.' I'm such a loser. That's, like, my childhood film. Like, I love it.

Writing a film - more precisely, adapting a book into a film - is basically a relentless series of compromises. The skill, the "art," is to make those compromises both artistically valid and essentially your own. . . . It has been said before but is worth reiterating: writing a novel is like swimming in the sea; writing a film is like swimming in the bath.

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.

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.

A film you can explain in words is not a real film.

'Biutiful' is a tough film. It doesn't make concessions to the vulgarity of light entertainment. It's not the kind of film that you see every day in the Cineplex. But as an artist, it's the thing that I needed to do.

Television is very different than working on film. With films, you get to develop a set of characters, and then, at the end of the film, you have to throw them away.

The most important film I made, in terms of its subject and the great responsibility I had as an actor, was a film I did about the founder of Pakistan called 'Jinnah.'

After I read the story of 'Dangal' and before the film released, I called director Nitish Tiwari asking him if he had any good script. He told me to wait for some time. So we had three-four sittings, and this film, 'Chhichhore,' came to him. The film did not have superstars, but I felt that this is the script that needs to be told.

When I walk onto a film set, I become frightened and nervous. There's all this equipment, all these people, and most of them do things you don't know how to do. I didn't come from a film background.

Sometime ago, I went for a film festival in San Francisco and that's where I met film director Warren Foster and actors Robert Parham and Randy Taylor, by chance.

Harvey Weinstein bought our film, and he's an animal. He's got us out there campaigning and everything because honestly it's a silent black-and-white film.

With 'Aurangzeb,' I just knew that the film wasn't going to work, though I think it was one of my most underrated performances. I did the film too early in my career, but I stand by it.

You shouldn't think about the fate of the films. The film might succeed or fail, but your performance must be good. You should work hard for every film.

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.

Most young people make films to be accepted, to be discovered, when in fact that was the last idea with the group I went to film school with. To be discovered was not our intention. Our intention was to tell our story our way, and make our own mistakes and learn from film to film.

Film as dream, film as music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames a second, darkness in between, the optic nerve incapable of registering darkness.

Apart from my film, I am producing TV serials and plan to make more films, too. Mine is not going to be one-film-a-year production company as such.

Dolly Ki Doli' excited me because it has unique characters. Though it is a smaller film and without a big star, it is still a mainstream film.