Top 1200 Film Writing Quotes & Sayings - Page 16

Being horrible in a big film is a quicker nosedive than doing an obscure film and making no money.

'The Missing Picture' is about my story and my parents. Before this film, I never said 'I' in a film, so it is very personal.

Because a composer's soul goes into a film, they should do the entire film, even the background score. If not, then don't do it.

Each film has its own fate, and you can't go through personal emotions based on the highs and lows of a film.

There's two aspects of film crafting that I'm very strict about, and that's how I move my camera and where I cut the film.

Writing screenplays is incredibly hard. I can't call it joy. Writing Novels? Joy. Directing? Joy. Writing Screenplays? That's where you pay all your dues.

If you go to see a film with a woman you love, then even if the film is bad, you can hold hands and laugh at it.

Film was something I didn't really think about when I was young, because if you looked like me, you weren't a film star.

So much of the writing is not conscious, in the sense that it's not calculated. I remember in film school we had so many studies with big fancy words where you could dissect a movie and make charts of all of the characters' complicated inner relations and themes and what does this mean? And it's overwhelming as a student. It's great for a student, but as a writer, it's paralyzing.

It's not just about acting. I love film, I'm a director now, I love writing, I love producing, I love having a company that makes films and to be prolific and have a place to put all the ideas that are constantly bubbling up inside of me and that don't let me sleep at night.

I think it remains a film-by-film process, and since I am relatively selective and slow, it can take a while.

To think of a film from the point of view of a tank barrel is already so inhumanly positioned. This is when film can reveal itself scandalously.

After my first film, I was having trouble finding a second film. I had a lot of attempts that failed.

I did a few documentaries as co-director and cameraman. I started off shooting a film about the war in Rhodesia. Then I did a film about an 'around the world' yacht race with a friend, and we spent nine months on a yacht. The film was about how people get on in confined spaces under extreme stress.

Sometimes you're writing a song and you have an image whilst writing a song. I don't think you ever base a songwriting process around a video, but when you're writing a song sometimes it'll be a very visual song.

Once the censorship board clears a film, there should not be any other obstacle for a film's theatrical run.

Now because the film industry is what it is, if people are expecting a certain film genre and they're not getting it, there are howls of outrage.

I see creative-writing classes as some sort of AA meeting. It is more of a support group for people who write than an actual course in which you learn writing skills. This support group is extremely important because there is something very lonely about writing.

For film fans to support 'The Imitation Game' means so much to me, the entire cast and film-making team.

Look, I'm just a storyteller. When I make a film, I never want the film to become a vehicle of social propaganda.

I'm not sure if I want to direct a film, but certainly, as an actress, I'm always thinking, 'Surely this must be my last film.'

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.

In an action film, you think of things that are almost impossible to do and yet you have to manage to show them as being possible on film.

Some people have told me they remember the film that one of my images is derived from, but in fact I had no film in mind at all.

I'm still not ready to come back and 'And Once Again' is just a one-off film that I'm doing. It's not my comeback film.

Writing a TV show is totally different than writing features, or just, what I started doing is writing features. You write a little bit more organically. You start from the beginning to the end, beginning, middle and end.

If you need to get in physical shape for a film and you have to maintain that for six months, at the start of the film, I was never able to do it.

I have always believed that if a film has only two characters, but they do not make any sense, then the film's meaningless.

The life of a film is very strange. Once the film is done, you wish you could forget about it and move on.

I saw 'Birth' at the Sundance Film Festival with a thousand other strangers, and I couldn't believe that was me in the film. I didn't recognize myself.

I have been working on one film at a time. One film recovers a little cost and that helps me move on to the next one.

When I take up a film, I always think of the effect it will have on my children when they see the film years later.

If it's a good work of adaptation, the book should remain a book and the film should remain a film, and you should not necessarily read the book to see the film. If you do need that, then that means that it's a failure. That is what I think.

I think the idea was to make a horror film that became a science-fiction film with a lot of melodramatic tropes.

Regardless of what film you make, you want people to watch your film, and you ultimately need commercial success.

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!

When you are acting in a film, you are only worried about your performance and how the film will shape up.

A gem of a short film has a sense of pure joy in animation that is different from anything you see in a feature film.

Up until then, whenever anyone had mentioned the possibility of making a film adaptation, my answer had always been, ‘No, I’m not interested.’ I believe that each reader creates his own film inside his head, gives faces to the characters, constructs every scene, hears the voices, smells the smells. And that is why, whenever a reader goes to see a film based on a novel that he likes, he leaves feeling disappointed, saying: ‘the book is so much better than the film.

In a film, there are too many characters. If the film is not a hit, then nobody really notices your work.

I started a writing class, not in service of writing a script or writing anything specific. I've just really been enjoying that, and oddly the group, not by design, but it just happened to be all women, and there were three women who gave birth this fall while we were all in class, and there's just something really great about getting to know these women through their stories and what they're writing about.

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.

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.

Read. Read. Read. Read many genres. Read good writing. Read bad writing and figure out the difference. Learn the craft of writing.

How can you work in film and still see the overt racism that exists in film and not just be furious all the time?

I long to make films. I'm dying to be inside the next film. I always hope there will be another film.

I'd rather have a small part in a big film or good story than do a solo film just for the sake of it.

I came into science fiction at a very good time, when the doors were getting thrown open to all kinds of more experimental writing, more literary writing, riskier writing. It wasn't all imitation Heinlein or Asimov. And of course, women were creeping in, infiltrating. Infesting the premises.

No, my favorite scene was Brienne finding Arya and The Hound. I thought that the writing and the dialogue and the confusion that spirals into the fight was such a cool scene. I knew I was gonna film it in Iceland and I did a lot of - I really scouted and climbed around Iceland to find those locations and I just couldn't wait to do that.

I'm really into acquiring film paraphernalia - that's my hobby. I love old movie posters, cameras and film reels.

The Limits Of Control is not surrealism, but it is an experiment in which expectations are deliberately removed: expectations for narrative form, for action in a film, for certain emotional content. We wanted to remove those things and see if we could still make a film that was a beautiful film experience, with deliberately removing things many people would expect.

I got into film school thinking I was going to make features, like every other film geek.

My partners are Gourov Dasgupta and Roshan Balu. Together, we're 'Superbia'. I've already signed some film and non-film assignments.

The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.

Basically, actors arrive in a bubble. They have a little sealed bubble around them and it's basically [comprised of] their agents, their last film, their next film, their press agent, and their per diems - all these things, they cocoon themselves with and you have to puncture that bubble on each of them to make them be in your film.

Writing for the stage is different from writing for a book. You want to write in a way that an actor has material to work with, writing in the first person not the third person, and pulling out the dramatic elements in a bigger way for a stage presentation.

For the regional film industry, it's a great feeling that a Dev film is being seen as a competition to a Salman movie.

I think that film festivals, we're very often given to understand, are about filmmakers and about films and about the industry of filmmaking. I don't believe that they are, I believe that film festivals are about film audiences, and about giving an audience the encouragement to feel really empowered and to stretch the elastic of their taste.

When art in general, and film in particular, succeeds is when it pulls you away onto a voyage. Then it's a good film.

When you get immersed in whatever you're writing, the world does suddenly get so filtered through what you're writing. And then of course what you're writing then filters the world right back.