Top 1200 Film Writing Quotes & Sayings - Page 20

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

I've always felt that, although Truffaut was greatly revered and admired, at the same time, in terms of film and how much he loved film, he was underestimated.

This is indeed not only relevant to Documentary but is evident is most type of film making. The film often mirrors the experience, understanding and politics of the director.

I was very happy to learn Oliver Stone had decided to make a film about Edward Snowden and believe this is a powerful and inspiring film.

It was the beginning of film for television. So we had all of these great opportunities. Northwestern was probably the only major film school of its kind at the time that was graduating anybody important.

Film is a director's medium, and a film set is a complicated military structure - I have to keep reminding myself to stay in my place, or all will burst into chaos.

Writing for film is so different; it's such an act of submission, both on a monetary and time level, because you basically kind of have to just set everything else aside - it's like suddenly getting a temp job that requires you to work 16-hour days. Also just aesthetically, you have to completely leave all of your ego out of it.

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.

Writing was always a laborious thing for me. I never wrote fluently, I never wrote fluidly, there was something very awkward in my writing. But it seemed to me purposely awkward. It's almost as if I made the labor part of writing.

There's no lack of writers writing novels in America, about America. Therefore, it seems to me it would be wasteful for me to add to that huge number of people writing here when there are so few people writing about somewhere else.

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.

The first film that I saw of Shammi Kapoor was 'Bhramachari.' I instantly fell in love with the film and connected with Shammiji. His style was natural and unique.

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.

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.

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.

When you watch a film, a huge part of it is the music and the coloring and everything that comes together to create such a unique film. So, reading the script, I had no idea what it was gonna be.

They put me in an office with the TV set up and said "Here's the tape. When you're finished writing your copy for the little trailer you're going to do, you'll come out and show it to us and we set you up to go edit it." I turned it on and it was just this hardcore film and I was like, "Oh my God, I've fallen down the rabbit hole."

Teaching and writing are separate, but serve/feed one another in so many ways. Writing travels the road inward, teaching, the road out - helping OTHERS move inward - it is an honor to be with others in the spirit of writing and encouragement.

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.

There is also an artistic element which is lead by the film maker. Issues of what is reality and objectivity are as always relevant as someone is going to edit the film.

I approach every film as my first film.

'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.

The film I think was a good film for what it was designed for. It was for kids. Unfortunately the critics slashed it before it even started but that is just the way the cookie crumbles.

American film isn't just film and glamor and fame and the lives of people who are fortunate financially. Those aren't the only stories in this vast nation. That's my mandate.

When I did my first student film, it was a ten minute film and it cost $U.S.4,000. I worked three jobs to pay for that and I haven't really slept since.

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.

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

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'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do 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.

The thing is, as a film director, you're essentially alone: You have to tell a story primarily through pictures, and only you know the film you see in your head.

I didn't go to film school. I was never an assistant or trainee on a film. I had not seen all those cameras. So I think it gave me a lot of freedom.

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.

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.

If a film promotes communal harmony, which for me is beyond religion, I am happy to work on it because the film's premise is in line with my beliefs.

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.

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.

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.

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 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.

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!'

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.

'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.

The parts of a film should be in proportion to the whole, and a long film pasted together out of quick little scenes makes me dizzy.

In film, movies schedules are based on three things: actors availabilities, when are sets being built, when you can rent the place youre going to film in.

I'm not a genre film filmmaker. I'd rather look for a topic that I think we need to bring up and discuss because there's something about the issues in the film.

I was about 6 or 7, I would have said I wanted to be an actor and an artist. And that just kind of kept honing itself around film and getting closer to film.

The easiest thing I do is assignment songs. They tell me what they need me to write. I can do that fairly quickly. Writing for an orchestra is difficult. Writing songs [on your own] is most difficult of all. Though [writing for] the orchestra is close.

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.

One does not have to get frustrated with getting an opportunity, whether it is film, short film, web series or TV shows... As an entertainer, opportunities have expanded.

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.

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

For me, the hardest part is getting up and writing, that's the hard part. I always felt like I could teach someone to direct if I really had to. I feel like it's a skill that's passable, but writing... writing is the worst. That's what I'm doing right now, it's just the hardest thing that you'll ever do.

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.

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.

When I am playing the protagonist of the film, before the release, I feel a certain pressure because I become the face of the film, then, and I have a major responsibility.

My dad made a film called 'Willow' when he was a young filmmaker, which screened at the Cannes film festival, and people were booing afterwards.

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 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."

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?