Top 1200 Film Writing Quotes & Sayings - Page 18

Germany led the world in photography and film: 'The Cabinet of Dr Caligari' and 'Metropolis' are works that, to this day, film buffs revere.

I try to be straight when I communicate with my audiences through a film. I'm not sure whether I have been successful. I don't watch my film once they're in theaters.

Since I have spent so much time with film-makers, and I understand the process, I would love to direct a film some day.

When you work so hard on making a film, it's all worthwhile when you get to experience seeing that film with an audience who thoroughly enjoy it and react to the movie.

My Toussaint [Louverture] film is in limbo. We still hope after all this time that we can find another way to get this film done.

I would love to make Madhuri Dixit dance. If I do a film with her, it definitely has to be a 'Madhuri Dixit film'. I don't want to cast her in a small role. I will do a full- fledged dance film with her.

I can't do a film after having debated it. I am unable to do a film while discussing it with my team. I issue directives. I do not achieve it otherwise.

The film that changed my life is a 1951 film by Vittorio De Sica, 'Miracle in Milan.' It's a remarkable comment on slums, poverty and aspiration.

Writing is hard work, not magic. It begins with deciding why you are writing and whom you are writing for. What is your intent? What do you want the reader to get out of it? What do you want to get out of it. It's also about making a serious time commitment and getting the project done.

I know well enough that very few people who are supposedly interested in writing are interested in writing well. They are interested in publishing something, and if possible in making a "killing." They are interested in being a writer not in writing. . . If this is what you are interested in, I am not going to be much use to you.

I think when you work on a Woody Allen film the actors become a real company, probably more than on any other film.

A period film, where you, for example, where you have a traditional wardrobes, you are bound to act a certain way. But in a modern film, a lot of body gesture.

A film is not a vehicle to accuse, or to relay a specific message. If we reduce a film to this, we lose all hope for cinema to ignite a richer conversation.

Television is making, there was in independent film renaissance late '80s through the mid-90's. It was an amazing time. Television is doing that right now. So that's why everybody wants to do it. I mean if you're writing stuff like, you know, Fargo, or True Detective, or any of these things that are on, Breaking Bad, there are no rules in television.

I do want to work on writing, because writing's a skill. Writing is something that you can train yourself to know better. To know yourself better. And it's intimidating as hell.

There are so many interpretations that this film [The Lobster] could be approached from. But Yorgos [Lanthimos] is so specifically minded, he's so clinical in his direction of the film.

I am honored to be a part of that film. It has a really important message, embracing one's individuality. It was the most universal film I've ever read.

I don't think writing stops until the film is out. In the edit, it's another draft. [The script] is the food for set, and then the set is food for the edit, and the edit is food for the screen. It's constant, and this is just the first stage of it.

I've been writing for a long time, since the late '60s. But it hasn't been in the same form. I used to write scripts for television. I wrote for my comedy act. Then I wrote screenplays, and then I started writing New Yorker essays, and then I started writing plays. I didn't start writing prose, really, until the New Yorker essays, but they were comic. I didn't start writing prose, really, until the '90s. In my head, there was a link between everything. One thing led to another.

When a film like Chris Nolan's Memento cannot get picked up, to me independent film is over. It's dead.

Sometimes I feel indie directors are in the game so they can make a film to get hired to do a big film - that we're all doing this person's reel.

After all, film is so porous, and to my mind, so oddly occult, that I think that film itself absorbs odd energies like a living skin.

When you do a film like 'My Soul to Take,' and people think it sucks, that hurts. We put a lot of work into it, and it's a good film, but you go on.

I am so proud that 'Up' is Pixar's 10th film. I think it's the funniest film that we've ever made and also one of the most beautiful.

I don't think his life has been in any way disfigured by the film. The film did disclose some difficult facts.

If you are going to call a film a 'black film' then you have to make a film that represents everyone that's black, which is almost impossible. That is why white films are not called white films, they are just called 'films.'

I became a film director, but I wasn't successful with my first couple of films, so I had to turn to becoming a film critic to make a living.

So as I was growing up, my father was always in the middle of making a film or preparing a film. It was a full-time, all-consuming type of operation.

I've studied film a lot, so I know much more about film than music, but I don't think I could have made films.

Ready writing makes not good writing, but good writing brings on ready writing.

When a film is successful, you don't need to shout about it from the rooftops. I don't believe in going into overdrive. There's no desperation to be acknowledged as the reason for a film's success.

What eventually counts is whether your film was successful at the box-office or not, or more so if the film has made its money, and 'Race 3' did that.

Post 'Pink,' I don't have any film which I can pick out from my filmography and say 'It would have been better if I hadn't done this film.'

'Hard Boiled' is my last film in Hong Kong, before I moved to the U.S. It is the one film which is most accepted by the audience in the West.

You can be accepted in a film which is amazing, and the same person can be rejected in another film whose content does not resonate with people.

And [now] I think I’ll probably write a lot about birds. My new house has a deck that wraps around my writing room; my writing room has many windows, and outside the windows I’ve hung bird feeders … for enticing different species. So I imagine I will be writing about that.

I've enjoyed living in New York for the last 10 years, where there's a real film culture, with the Film Forum and Lincoln Center.

Every single one of us who has been a Woman in Film for more than five minutes is sick of the phrase Women in Film.

Little projects - not feature - film projects - you know, theater things, writing things, and jobs like doing rewriting for money, stuff like that. I don't recommend it. It's not a schedule that I'd want, although it was really good for me in a lot of ways. I became a better writer.

Cannes is one of the biggest film festivals across the globe, and getting your film selected for a screening is quite a big achievement.

It's a funny thing with documentary films - you want them to feel as entertaining and as gripping as a fictional film. With a fictional film you want it to feel as realistic as a documentary film.

I wish I had time to do more reading, but I just haven't had much time. But I still find time for writing. I've always preferred writing over reading, even though those things do go hand in hand. But when I do have time, even if it's not writing music, just writing in general - ideas and stories and things like that.

Film and television are very different. On the TV show, we do seven or eight scenes a day, so time and money are of the essence, and we have zero room for creativity because you've got to do each scene in only five takes. Whereas, on a film, you have an entire day to film one scene, so you have so much time to choose how you want to fill in a scene.

I'm very lucky to say that I worked with a lot of directors who cannot make a bad film. Like when Wim Wenders, they cannot make a bad film. They can make a film people don't like, or it's the wrong moment.

Back in the day, I was keen on working on a film with the superstars - Mammootty and Mohanlal. But they wanted me to make a film with them in Tamil.

Growing up, a film was an action film or it was a comedy or it was romantic, but you don't really see such stark lines between genres nowadays.

I've made some great movies. 'Risky Business' still stands up. It's timeless. They study that film in film school.

Writing is a recording that you can cut up and reassemble. Sound is something you can cut up and reassemble. Film, video - you know, the main tools of culture - can all be cut up and reassembled.

My understanding of films was just as much as any young girl who watches Bollywood films. I had no idea about the whole process of filmmaking, about dialogue writing, scripts, screenplay etc. I had probably gone to two or three film shoots in my childhood.

I feel I am blessed. So many actresses went without doing a period film in their career, and I got a chance to do one in my first film.

If I were writing an article for the newspaper, it would be thesis statement, information, information, supporting arguments. That would be the setup. When I'm making a documentary, the pacing of the film and the way that you sort of switch from character to character - all of those are more about storytelling than straight journalism.

With every film, I try and give the audiences a little more than the previous film in terms of comedy, action, drama and so on.

You finish a film not in the editing, but in the conversations that audiences have with themselves - and in that sense, every viewer is making a slightly different film. And that's wonderful.

I remember till 997th film, but after that I got so busy with multiple projects; I'm not sure which one released as my 1,000th film.

I must say here in France I had more serenity or security as I was working because I knew I was making the film the way I wished and that the film would be seen, ultimately, which is not always the case in Iran. In Iran, you always work having in mind this worry of will I be able to carry on my project as I wish and will the audience see the film.

I will tell you that I'm a bit of a snob. I love film, and I would like to work in film, and I'm disappointed that indie film is as hard as it is to work in now. It's hard to get things done, but that sort of work is being done on TV. That's what I do; that's what I write. It's what I love, and hopefully, that's what my future's going to be.

And you know, we did it as an independent film, and we weren't expecting it to be on television, and Lifetime ended up buying it. And the viewers responded intensely to that film.

I always felt that with an Antoine Doinel film, Truffaut was taking a vacation, that Francois could relax when making a Doinel film. All of the language came to him very easily. 'The 400 Blows,' I felt, was a collage of all his childhood experiences. Every time he felt an Antoine Doinel film was necessary, he'd make one.

Film is my hobby, so I will work well through the night to develop films, whatever film I'm doing or dream projects I have.

It's Steven's [Sebring] view of what he saw in traveling and working with me. But on another scale, I think the film [Dream of Life] is very humanistic: It touches on motherhood, death, birth, art, laundry, anger against the Bush administration... While I don't think it's the kind of film where one goes to find some of the darker, edgier aspects of life, the film was born of grief.