Top 1200 Film Students Quotes & Sayings - Page 19

Let's also make sure that a high school diploma puts our kids on a path to a good job. Right now, countries like Germany focus on graduating their high school students with the equivalent of a technical degree from one of our community colleges, so that they're ready for a job. At schools like P-TECh in Brooklyn ... students will graduate with a high school diploma and an associate degree in computers or engineering. We need to give every American student opportunities like this.

Teaching, like any truly human activity, emerges from one's inwardness, for better or worse. As I teach I project the condition of my soul onto my students, my subject, and our way of being together. The entanglements I experience in the classroom are often no more or less than the convolutions of my inner life. Viewed from this angle, teaching holds a mirror to the soul. If I am willing to look in that mirror and not run from what I see, I have a chance to gain self-knowledge-and knowing myself is as crucial to good teaching as knowing my students and my subject.

All my films I have shot in chronological order - always. And the reason is that there's a moment that the screenplay is the notion of the film. But when you start doing a film... the work itself starts being transformed, and you have to surrender.

I'm from New York, and yet I've done only one film executive-produced by Spike Lee and have never done a film that Spike Lee directed. I've never done a film that Keenan Wayans has directed, or Bill Duke.

I'm planning some films in the U.K., and it will have pros and cons. It takes a lot more time to set up a film in the U.K., because you can't rely on much. In Greece, friends show up and bring what they can and you make the film. Well, that's a bit simpler than how it really is. But when you make a film with proper industries, it takes more time to synch all these things.

But you can still find good films if you read your local film critics and are willing to drive a bit. You have to be a proactive film viewer to have the most provocative cinema life.

If I ever treated being gay as a problem, then I'm going to continuously find problems, I'm never going to find solutions. Students consistently ask about my personal life, and I kindly let them know, "That's my personal life, you don't need to know that." I've never had a negative interaction with students or parents. I try to become a part of the community so that parents can feel as comfortable with their child moving along in the curriculum more so than me being a problem.

I'll probably always write film scores. It's the one place where a composer has almost unlimited resources at his beck and call. When music you have written works well in a film, nothing can beat it.

I'll need every ounce that I have to drive it through. Film and TV require that energy. Sometimes fight scenes can be pretty intense. When I was shooting "Heaven" it was truly guerrilla film-making.

I believe that independent film making is the last frontier of creative expression available. So I'm always willing to lend a helping hand to a young film maker who's just getting into the business.

I couldn't be happier starting 2019 with this film 'Haathi Mere Saathi.' It's the first time that I am doing a trilingual film which I'm excited about. It will be my Tamil and Telugu debut.

For me, filmmaking combines everything. That's the reason I've made cinema my life's work. In films, painting and literature, theatre and music come together. But a film is still a film.

It's a myth that you'll know the box office result of any film. I don't think anybody can predict a film's fate accurately, otherwise nobody would make unsuccessful or flop films.

When we started Angels Airwaves, we wanted to produce our art on different mediums, but the film was an ambitious one because we actually didn't go into it thinking we could make a big feature film.

Even in 'The Red Shoes,' a film that nobody ever has complaints about, there are enormous continuity bumps, and it doesn't matter. You know why? Because you're being carried along by the power of the film.

I think tax breaks for diversity is a good thing. In film now, what happens is you get huge tax breaks if you can prove via your hiring practices and via casting, that the film is British, you get a tax break. Wouldn't it be great if you got a tax break because the film was properly diverse?

I am still very surprised that I managed to make that film [Close Up]. When I actually look back on that film, I really feel that I was not the director but instead just a member of the audience.

I'm just one of those people that if I sit down to watch a horror film, I put my hands over my face and I cry a lot and I don't see half of the film because I'm too upset.

With 'Toy Story,' which is a fantastic film but is essentially animation, you get to make all your decisions beforehand. 'Jumanji' is shot much like any other action film.

I was obsessed with Batman as a kid. I did the film in part just to be near the Batmobile. But I also think [director] Christopher Nolan made a very fine, intelligent film.

Like many others, I have deep misgivings about the state of education in the United States. Too many of our students fail to graduate from high school with the basic skills they will need to succeed in the 21st Century economy, much less prepared for the rigors of college and career. Although our top universities continue to rank among the best in the world, too few American students are pursuing degrees in science and technology. Compounding this problem is our failure to provide sufficient training for those already in the workforce.

It's very important that a film that intends to play tricks on the audience... has to play fair with the audience. For me, any time you're going to have a reveal in the film, it's essential that it have been shown to the audience as much as possible. What that means is that some people are going to figure it out very early on. Other people not til the end. Everybody watches the film differently.

It's very rare to get a film script that has good dialogue. A lot of the time, you spend on film sets really fighting to find out how to say the words.

I think film and television actually is a lot harder. Acting onstage is physically more arduous, but to get to emotional truth within a scene, it's much tougher to do it on film.

Filmmaking involves a lot of passion, hard work, thought process and money. But 'Gandhi My Father' is a selfless film, a film made with complete selflessness. We all went beyond ourselves.

The normal storyline of a horror film or a slasher film is the young, beautiful college folks go camping and get systematically killed by the person in a mask. So that's how it normally is.

When I make a film, I never stop uncovering mysteries, making discoveries. When I'm writing, filming, editing, even doing promotional work, I discover new things about the film, about myself, and about others. That is what I'm subconsciously looking for when shooting a film: to glimpse the enigmas of life, even if I don't resolve them, but at least to uncover them. Cinema is curiosity in the most intense meaning of the word.

My protest against digital has been me saying, "What's going to happen to film?" The result is that Kodak is out of business. That's a national tragedy. We've got to keep making film.

I don't think that my work appeals that much to the hard-core, avant-garde film audience. They appeal to people who teach film and those establishment figures on the East Coast.

Nowadays, if a studio assumes that his film is bad, there is always an executive that gets more nervous than usual and thinks that if they change the music, the film will become a masterpiece.

Even for the most difficult scenes, and there are difficult scenes in the film, and because Michael Haneke is such a great film-maker - I think a great film-maker is not only being inspired, but how to do it, how to make it as real as possible, knowing that it's not real.

This film [ Blue is the Warmest Color] actually is the result of me talking with my producer Vincent [Maraval]. I gave him a bunch of ideas and then Vincent helped guide me and develop this particular film. I enjoy that rapport to have somebody else help guide me in my choices for the next film. The poetic way of looking at it is which project is going to choose me as a director.

I thought 'Deliverance' was a very good film. But it didn't have the success financially that 'Smokey and the Bandit' did, although that film made more money than 'Star Wars' in the first week.

'Black film,' that term allows studios to just marginalize a movie and say, 'We've made our black film. We've made our film with people of color in it,' as opposed to, 'I just feel like people of color should be in every genre.'

The Talmud tells a story about a great Rabbi who is dying, he has become a goses, but he cannot die because outside all his students are praying for him to live and this is distracting to his soul. His maidservant climbs to the roof of the hut where the Rabbi is dying and hurls a clay vessel to the ground. The sound diverts the students, who stop praying. In that moment, the Rabbi dies and his soul goes to heaven. The servant, too, the Talmud says, is guaranteed her place in the world to come.

The thing that fascinates me is that the way I came to film and television is extinct. Then there were gatekeepers, it was prohibitively expensive to make a film, to be a director you had to be an entrepreneur to raise money.

If you look at figures, we have a good supply of doctors in Switzerland. They always say that in the future we shall have a lack of home doctors, family doctors. I'm not sure of that, but we have a problem of formation. Every year there [are] about 1,000 students beginning medical studies, and at the end of the formation there are only 600 young people getting the diploma. It means that about 40 percent of the students fail during the studies, although there is a selection at the beginning. Forty percent is too much as failure, so probably there is a problem in the formation, education.

With Fever, the film was so made for the screen, and there's so much surround sound that was done for the film - enormous detail paid to that. I wasn't thinking video, because I didn't know how it was going to turn out.

For the most part, the American film market has become very corporatised, even independent film to a degree, and because of the corporate management mentality, they want to take the safe way.

I'll need every ounce that I have to drive it through. Film and TV require that energy. Sometimes fight scenes can be pretty intense. When I was shooting 'Heaven' it was truly guerrilla film-making.

I'm excited about how books work in a digital age. When you read a book, unlike a film, you are decoding symbols in order to 'see' the story, so it is collaborative in a way that a film can never be.

Perhaps I shall not write my account of the Paleolithic at all, but make a film of it. A silent film at that, in which I shall show you first the great slumbering rocks of the Cambrian period, and move from those to the mountains of Wales...from Ordovician to Devonian, on the lush glowing Cotswolds, on to the white cliffs of Dover... An impressionistic, dreaming film, in which the folded rocks arise and flower and grow and become Salisbury Cathedral and York Minster.

I think technology has advanced so far now that there are some cameras on the market that give film a run for its money. It's all about flexibility in capturing images, and digital or film, it doesn't matter to me.

I think the situation in Toronto is such that there are funding organizations which make it easy for a film to raise more money than it needs and very often that works against a film.

It's true I was approached for 'Heroine' but I couldn't do the film as the dates were clashing with Kamaleswar Mukherjee's film 'Meghe Dhaka Tara' based on the life of Ritwik Ghatak, where I played the lead.

'Haraamkhor' is a low budget film. We are not worried about the box office because our film is already in profit. It's got a strong content that will reach people's heart.

I did a series of classes in psychology (at the institute), .. The students that came to that class had children. And over a period of a few years, they decided they wanted a nursery school, a play group (to watch over their children while they were studying). So in one of the garages that was near where we were having the classes, we established a play group area and the students volunteered to supervise. That eventually led to building a state-licensed nursery school, which was approved by the California department of social welfare.

I'll never forget the first screening at the Berlin Film Festival. As soon as the film ended there was an outbreak of booing, which made us look at each other with some surprise.

When you are a part of an all ensemble kind of thing, with many composers in one film, you get the freedom to work on one, or maybe two songs, and experiment without thinking too much about the film.

My grandma was really sick when I was working on 'Sin Nombre' and eventually died that summer when we were finishing the film. But I was able to bring an unfinished version of the film for her to watch.

When I write a film, the film gets handed off to a producer and a director and I go my merry way. With television, I am expected and contracted to stick around and actually produce what I've written.

I'd like to think at some point instead of it being a woman's film or a man's film, it is just a great story, and both sexes can go and get the same enjoyment out of it.

Years ago I was in a band called Two Lane Blacktop - we deliberately named ourselves after the 'Two-Lane Blacktop' movie, 'cuz it's a car chase movie. All our songs were based on movies, every single song. I love movies, and that was something that me and the singer in Two Lane Blacktop bonded over - we were design students together, we did a film-class together, so we became obsessed with movies. It's followed me around ever since then, it's a constant theme.

I was playing in a band and was approached to score an independent film. I had never done it, but had written instrumental music, so I figured I could do it. Turns out I loved scoring the film, and took on another couple films before realizing that if I was to be an effective narrative composer, I should study the craft of composition. I stopped taking projects and got a degree in orchestral music composition, and followed that with film scoring studies. Near the end of my degree studies, I started taking on student films as a way to get back into film scoring.

All films are learning processes. I am still trying to work out how you make a movie. I didn't study at film school or any of those things. I didn't bother with film theory.

The nuts and bolts of shooting a film and writing a film are still really difficult. But what makes it easier is the fact that you know you're going to go to work with your best mate.

You have very accurately described the difficulty of presenting my books on film: many of my characters are alone most of the time, and when they do talk, what they say is mostly lies. That can make for a pretty confusing film.

I may have got a little carried away and many critics found fault with some aspects of the film, but as a coming of age film of a character, 'Vaaranam Ayiram' worked with the audience.

I conceive of the film as a modern art form particularly interesting to the sense of sight. Painting has its own peculiar problems and specific sensations, and so has the film. But there are also problems in which the dividing line is obliterated, or where the two infringe upon each other. More especially, the cinema can fulfill certain promises made by the ancient arts, in the realization of which painting and film become close neighbors and work together.

When we started Angels & Airwaves, we wanted to produce our art on different mediums, but the film was an ambitious one because we actually didn't go into it thinking we could make a big feature film.