Top 1200 Film Writing Quotes & Sayings - Page 4

I had many years where I just worked from film to film to film. And then all of a sudden I went: "Where did I put my bags down? Where's my little place I call home?"

On another level this film talks about that. We had tremendous freedom while making this film. We never thought about marketing. It wasn't a film made to sell merchandise or products or to reach millions of people around the world. It was a film made to say what I really felt.

I would have to say I might do some stuff, but it's the film that's appealing. I was raised on film. My musical experience is all via film, it's not from classical music.

Before, I was writing a script to make a movie. At a certain point, I became A Writer in Film and Television. So I got TV deals to write stuff, film deals to write stuff. But it's dangerous. I got into the WGA, and I became kind of, you know, a slave! They just pay you to write a script, and it's hard to make the movies.

I don't know how much a photograph can add to a biography, the way a film or writing or narrative medium could. Because it's a frozen image.

It took me three, four years, to get from my first film to my second film, banging on doors, trying to get people to give me a chance. Writing, struggling, with no money in the bank, working as an editor on the side. Working as a cameraman on the side. Getting little jobs, eking out a living. Trying to stay alive, and pushing a script that nobody wanted.

If you are making money writing, you are doing great. If you can support yourself writing, you are a success. I don't care if you're writing textbooks or Pulitzer Prize-winning articles for weighty publications of world renown: If you're writing and it's paying the bills, consider yourself a successful writer.

I've always been interested in film, so to get involved in any way in the genesis of making a film or music for a film is fascinating to me.

In Surojit's film, 'Pagol Hawar Bodol Din,' I am a villager. Victor Banerjee is also part of the film. The uniqueness of 'PHBD' is that the whole film is like a poem.

All in all, I'd like to venture into film. Films are my staple diet, so I would love to be part of a feature film, independent film... it all just depends on the story and the people behind it, really.

I guess my first digital movie was 'Tintin' because 'Tintin' has no film step. There is no intermediate film step. It's 100% digital animation, but as far as a live-action film, I'm still planning to shoot everything on film.

I wrote on my desk wall when I was writing the film...'Art is socialism, but life is capitalism.' That's the hard thing in all of it if you expect to make a living.

I'm writing a film. With our access to these powerful media, we're going to take over, because it's really disgusting what is put out there now to be consumed.

Of all the disciplines involved in making anything - TV, film or anything I do - the writing is the most valuable commodity.

When I met Bono at the Cannes Film festival while I was there for the film 'United 93,' he said to me, 'That's a great film, brother. Thank you for your courage in making it.' I plotzed.

I'm working on a number of different things. I'm working on a couple of TV things and I'm working on a couple of film things too, and they're all very early stages. One of them I'm writing myself, one of them I'm writing with somebody else, and one of them I'm supervising a writer, and they're all sort of coming up at the same time and it'll be interesting to see which one kind of reveals itself first and jumps ahead.

My original goal was just to do stand-up but then I became interested in films - writing a film, shooting one someday, and getting to act in them.

Journalism is very much public writing, writing with an audience in mind, writing for publication, and frequently writing quickly. And I know that when I worked daily journalism it really affected my patience with literature, which I think requires reflection, and a different kind of engagement.

On the craft level, writing for children is not so different from writing for adults. You still have to have a story that moves forward. You still have to have the tools of the trade down. The difference arises in the knowledge of who you're writing for. This isn't necessary true of writing for adults.

I pretty much believe that a film is a film and when an audience watches a film, they finish it.

Hindi film industry makes film for the rest of the world. Tamil films are watched by Malay people. When a film is not bound by a language, why should an actor be?

Joss Whedon is a hero of mine, and what he's done for women in film and television, particularly when it comes to writing female roles that would typically go to a man, is awesome.

Writing is fantasizing about what your film will be like. Shooting is reality. And the post-production is recovering the idea you had.

I always really wanted to do film scoring, largely because I hate writing lyrics. I just won't do it. I need help with the words.

I love writing music for film and TV, but putting it into a video game is twice as fun because it needs to be repeatable and joyous.

My introduction into the film industry happened with 'Masaan,' which was a multi-star cast film. I was just a part of the film.

But in film you always watch situations or stories that you really have no relation to. A lot of times just because there's no personal connection doesn't mean you can't connect with the film or the characters in the film.

I think writing for me has always been a matter of fear. Writing is fear and not writing is fear. I am afraid of writing and then I'm afraid of not writing.

Film can express things that computers never will. Film is a series of photographs separated by split seconds of darkness. Film is light and shadow.

'Hudugaru' is a remake of the Tamil film 'Nadodigal.' The film is about what happens when relationships between friends or lovers is taken casually. The film will appeal to youngsters and families alike.

I don't know if I can see myself writing another 'Saw' film. It's such a special part of my life, and I almost don't want to ruin it by going back.

Look at 'Dulhe Raja.' It was a film made very quietly on the sidelines, and suddenly, when the film was released, it struck gold. I never expected the film to do well.

For me, when I choose a script, I put my heart and soul into it, and that is exactly what I look for in a film. A good film is a good film. And if it's a bad film, irrespective of whether it's made 300 crores or 200 crores or any amount of money, it doesn't matter to me.

I was a child in the '60s and a teenager in the '70s, which was the golden age of film as far as I'm concerned, between American film and the Italian reinvention of genre film.

I waited for each film to become important for me. If I had no ideas for a film, I didn't do a film. So I made not that many films for fifty-four years of working.

When I'm by myself - composing or writing film scores - it's very lonely. I'm just sitting by myself in the studio.

As I talk to film students now especially, I say, "The easiest job you'll ever get is to try to make your first film." That's the easy one to get, is the first film because nobody knows whether you can make a film or not.

Writing is really just a matter of writing a lot, writing consistently and having faith that you'll continue to get better and better. Sometimes, people think that if they don't display great talent and have some success right away, they won't succeed. But writing is about struggling through and learning and finding out what it is about writing itself that you really love.

When you find theater writing like in the theater on film but it's realistic, it doesn't matter who the character is, you want to do it.

I am definitely writing letters to lots of directors in my mind when I'm making a film. I'm chasing Woody Allen and Godard and Milos Forman and all these people.

I try to imagine the scenes as I'm writing them as if I were watching them play like a film.

If you ask a filmmaker to analyse his own film, it would take three or four years to do that, honestly. Because when you make a film, you have to be convinced about it. You are married to that film for a year.

I love film and have taken a stab at a screenplay. I love writing dialogue and found it highly enjoyable.

The Company of Wolves doesn't belong in any category, so it's difficult to prepare an audience for it. It's not a horror film, it's not a fantasy film, it's not a children's film - so what is it?

You honor your writing space by recovering, if you are an addict. You honor your writing space by becoming an anxiety expert, a real pro at mindfulness and personal calming. You honor your writing space by affirming that you matter, that your writing life matters, and that your current writing project matters. You honor your writing space by entering it with this mantra: “I am ready to work.” You enter, grow quiet, and vanish into your writing.

I love writing books, but it's a solitary experience. When I'm on a film set, I'm with a bunch of other artists working together to make one thing.

When you're making a film, you don't really have time to consider what the whole of your film is. And then, when you're releasing your film and promoting your film, you're looking at it in a different way. Then, as you move away from it, you start to look at it objectively and think, 'What could I have done better?'

Oh my God, I love UCLA so much. Their film school is great because it's unstructured, so there's a freedom to fail in there and just tell your story, and everybody makes a film. It's so important to have that freedom in film school because that's what you're there for: to learn and make a film.

Writing a film is like giving birth to a baby and then giving it up for adoption.

A film is not a documentary. And what's wonderful about film is that it's a real provocation for people. I never, ever see film as being an absolute version of the truth.

I have a hard time writing. Most writers have a hard time writing. I have a harder time than most because I'm lazier than most. [...] The other problem I have is fear of writing. The act of writing puts you in confrontation with yourself, which is why I think writers assiduously avoid writing. [...] Not writing is more of a psychological problem than a writing problem. All the time I'm not writing I feel like a criminal. [...] It's horrible to feel felonious every second of the day. Especially when it goes on for years. It's much more relaxing actually to work.

I spent several years in the film finance business, but I returned to what I loved most about the industry - actual filmmaking, producing, writing and directing.

It’s the opening of Manderlay in Cannes, and I’m sitting next to this guy who’s writing for a tiny fictitious French paper called ‘On the Sunny Side,’ and he’s writing a review on the film, and he’s obviously bored. Then he tells me about all the cars he owns, and how rich he is, and all these things... So, at a certain point, he says, "So what do you do?" Then I take out this very strange hammer we have in the Danish building business, and I say, "I kill." And then I kill him. It is as stupid as it sounds.

Due to the political nature of film, partisan film making, especially where the subject is close to the film makers hart, tend to be the norm, rather than the exception.

I want to write a score for a film. It can be a proper film, maybe for a film kind of like... I saw that movie 'Drive', or a bit of a 'Blade Runner' vibe. A little bit sci-fi, but I don't know. I've just always wanted to write a score for a film.

I hope people like me in the film and love the film because I think 'Befikre' is a very sweet film.

I'd never read 'Prince Caspian'. I watched it and loved that film. Everybody was talking about its lack of success; its relative success in comparison to the other film. It's a great film. It deserved to do a lot better than it did. It's very difficult to make a film that will match up to the first.

Good writing is clear. Talented writing is energetic. Good writing avoids errors. Talented writing makes things happen in the reader's mind - -vividly, forcefully.

"Fish Tank" [my favorite woman-directed film] by Andrea Arnold. The film is so beautifully shot, and I love the raw energy of Katie Jarvis, who plays the main character, Mia. She is not a professional actress and she provides the film with a sense of realism. To me, the film feels so complete and superior.

I'm tempted to say, 'Writing treatments is like designing a film by hiring six million monkeys to tear out pages of an encyclopedia, then you put the pages through a paper-shredder, randomly grab whatever intact lines are left, sing them in Italian to a Spanish deaf-mute, and then make story decisions with the guy via conference call.' But no... compared to writing treatments, that makes sense, too.