Top 1200 Film Writing Quotes & Sayings - Page 17

The film room teaches you how to do the job, how to study the game, how to teach the game from film. How to create an advantage for your team by knowing your opponent, and all their plays and tendencies. And there's no better guy in the world that I've been around than Jim O'Brien at breaking down film.

I'm a film maker, not a crusader. I know a film will not change the world. If it can make a difference to a few that's good enough.

I made a French film called 'Merry Christmas' which is a very European film. It's a World War I piece.

I'm always looking at film, studying myself, comparing and contrasting with film of the great linebackers to see what I need to work on.

If I bring anything to the Coen Brothers' films, it's my ability to change tack and create a different mood from film to film.

A film is a great deal about what you see, and the silhouette of a character tells you a lot. I'd love to go into film costume.

The prime motivation in making almost any film is success, because film is the art form of the 20th century.

You don't set out making a film that will rake in 100 crores; you just want to make a good film.

I really discovered [Dr.Strange] through hearing about this film and first meeting Scott [Derrickson] and getting into it and just opening up and saying, "Okay, this is, like all comics, very much of its era," and my first question was, 'How do you make this film? Why do you make this film now?' and the answers were so enticing that I was like, "I'm in."

It'll be the Internet and piracy that will kill film. There's a philosophy that the Internet should be free, but the reality is that piracy will destroy the film industry and film as an art form because it's expensive to make a movie. Maybe you'll have funky little independent movies, and it'll go back and then start up again some other way.

I never control a film. The film controls me.

Our feature film, 'Crouching Tiger, Hidden Dragon Two,' has a built-in fan base from the original film.

The rules are: The only ego is the film, and you have to serve the film.

When I wrote for Jordan Knight, I was 17 or 18, they were pretty much the only songs I was writing. By the time people like Christina or Usher came around, I was able to know that I was writing for different points of view and people that might not want to say certain things. So you have to be considerate of whichever artist you're writing for.

I did photography in summer camp; I did it in high school. The only hard decision I've had to make was whether to go towards photo or film. And I ultimately realized that the type of photo I was interested in was actually photojournalism. And it's a very individualist career, whereas film is a very team-driven medium. So that's why I chose film.

I have always thought if you are going to make a film, it's much better to have an original script that will play to film's strengths.

I bristle a little when the argument for film gets put into the nostalgia ghetto. Film is still the highest quality and best-looking image capture medium available. I don't think it always will be. The digital image will get better, and it will eventually surpass the quality of the film image, but it isn't there yet.

When Laura Poitras asked me if she could film our encounters, I was extremely reluctant. I’m grateful that I allowed her to persuade me. The result is a brave and brilliant film that deserves the honor and recognition it has received. My hope is that this award will encourage more people to see the film and be inspired by its message that ordinary citizens, working together, can change the world.

'Jurassic Park' and 'Star Wars' shoved me into loving sci-fi and film in general when I was a barely coherent 3-year-old. And 'Lord of the Rings' took me to another planet entirely. Before that series, I knew I loved writing, but after, I knew that I had to write.

I'm always searching for a signature sound and melody that resonates with the film and audience and becomes integral to the film, game, or show.

When I did my first film, I didn't have formal training; I didn't work under any director. I really didn't know how to make a film.

I didn't know how story worked. So, when writing the screenplay, people introduced me to the science of it. And I'm grateful. I'll probably use that information for the rest of my career, in terms of writing novels or writing stories. And then, of course, to help me live a better story, a more meaningful story

I was never serious about Bollywood films, but when I was offered a film like 'Shanghai,' I took it because it is a good film.

My brother knows more about film sets than I do, because he works at New York Film Academy.

To be honest, I hadn't realised the greatness of film music till I was exposed to film songs after I started living in Mumbai.

I got a chance to act in a film, 'Derailed.' I was having a recurring nightmare, and after doing that film, the nightmares stopped.

I think your behavior is different when you work on digital or film. It seems that... I feel most focused if I'm working on film.

I've never been to film school. I had to leave this country to make a film. All they would let me do in Hollywood was be a messenger.

I was delighted with the film [Payback: Debt and the Shadow Side of Wealth]; it almost made me want to be a film-maker!

Now I realize that I have to let everyone take what they have to take from the film. No matter what I think about the film, it becomes a little irrelevant. I think I would say that the film is trying to show us that - and I spoke about that earlier - we have to let the teachers invest in their own classroom. There's no use in trying to control everything. Education is fundamental.

Every time you make a film, you want to do it in a genre that is different from your previous film, so that there is something fresh about it.

After finishing my study in Film and Television Institute of India (FTII), I was mentally prepared for the struggle in the film industry.

The main rule of writing is that if you do it with enough assurance and confidence, you’re allowed to do whatever you like. (That may be a rule for life as well as for writing. But it’s definitely true for writing.) So write your story as it needs to be written. Write it honestly, and tell it as best you can. I’m not sure that there are any other rules. Not ones that matter.

Even when a film is finished, when I direct a film, sometimes it's a dark profession, but it requires a peculiar form of courage that I admire.

I turned down a film that was offered to me in the very early '80s, a Scorsese film. That probably wasn't a good career move.

Sometimes you get involved in a film because you just love making movies and you want to keep working. Sometimes you're lucky enough to find something that you really care about. Therefore, now I'm emphasizing developing my own projects and writing my own screenplays, so that I can do exactly what I like to do.

I have seen this whole process of films releasing, becoming hits or flops, for too long now to expect things to do well. If I expect a film to do well, then it is for somebody else's sake, not for my own. I do my work, and if you feel that my work is improving from film to film, then I have done my part of the job.

I try to make each film a different film.

I don't consider myself to be a painter. I think of myself as someone who has used the medium of painting in an attempt to extend - give an extra dimension to - the medium of words. It happens very often my writing with a pen is interrupted with my writing with a brush - but I think of both as writing.

Focus should be on the art of film, not on the business of film.

I found that life intruding on writing was, in fact, life. And that, tempting as it may be for a writer who is a parent, one must not think of life as an intrusion. At the end of the day, writing has very little to do with writing, and much to do with life. And life, by definition, is not an intrusion.

Before I worked on film, I studied the theatre, and I expected that I would spend my whole career in theatre. Gradually, I started writing for the cinema. However, I feel grateful towards the theatre. I love working with spectators, and I love this experience with the theatre, and I like theatre culture.

I think poets are supposed to be writing for television and film. I grew up in the day of early TV that was so raw and funny, and I think we're in the next important moment of television, where it's really telling the epic of the culture like Charles Dickens was doing in the 19th century with his serialized novels.

I made a French film called "Merry Christmas" which is a very European film. It's a World War I piece.

I would never be in a film just for the sake of being in a film, so I am waiting for the right role to come along.

'Newton' is a very Indian film but resonates with people all across. And that's the reason it got great response at the film festivals.

The basic idea of making this film was that even if one person is touched by the thought in the film, then my job as a storyteller is done.

If African film makers had one-tenth the amount commanded by film makers the world over - even the amount used by so-called shoestring film makers - I think we would see quite an explosion of African films on the world scene.

I see writing and acting as different parts of the same continuum. Writing is better for intense emotion. If you're very angry about something, you shouldn't present it as strongly when you're acting. But if you're really angry and writing about it, that's the best way to get it out and across.

For me it sounds weird saying that the filmmakers respect the film. I don't imagine that there's other ways to make a film, but unfortunately there is.

I've taken every writing class I've had available. I took classes in high school, and I took English and writing classes in community college, but I dropped out of college. I also attended a local writing workshop two years ago.

The crime film is the most honest American film.

Success of a film is not only based on the film being good or bad. A lot of other factors are involved as well.

With the birth of social media, a film gets left behind if the actors don't go and present their film and energy to the public.

At the end of the day, regardless of whether you're doing a huge budget film or a small budget film, you still want the film to do well, and have people see it. That's the whole point. You want to put some kind of message into your films, and you want people to see it.

When you make a documentary film, after many years the only thing you remember is what you put into the film, not what you took out.

In Iranian cinema, all the lying takes place before making the film. In order to be able to make the film, you have to lie.

You can do a short film in three to four days, and then you can show it. Look at the careers you seen go either through Tropfest or outside of Tropfest. You can make a short film in a couple of days, and if it's great, it can go in the Internet or go to a film festival like this one or another.

Those who saw Kite Runner loved the film, for the most part, people seemed to really like the film.

One of the big breakthroughs, I think for me, was reading Robert A. Heinlein's four rules of writing, one of which was, 'You must finish what you write.' I never had any problem with the first one, 'You must write' - I was writing since I was a kid. But I never finished what writing.