Top 1200 Film Writing Quotes & Sayings - Page 6

After Silk Route disbanded I came on my own, and through the years, I have sung a few film songs while writing songs for my album.

Right now-whether you're in writing courses getting "paid" in credit for writing, or burdened and distracted by earning a living and changing diapers-figure out how to make writing an integral part of your life. Publication is good, and gives you the courage to go on, but publication is not as important as the act of writing.

I would say that no film is apolitical. There are politics in all films. Any film that is anchored in a society, any film that deals with humanity is necessarily political.

Writing is a key differentiator. I've used it for 14 years. Writing will not just lead to differentiation. Writing is the credibility you need to create buyer confidence

It's a very good thing for students also to be exposed to people who aren't film students or film scholars but who work in the world of film.

I love writing. I never feel really comfortable unless I am either actually writing or have a story going. I could not stop writing.

I think making electronic music isn't much different from writing a book or painting a picture or making a film. It's a creative process, and it's an art form.

I shot film with the Coen brothers on 'Hail, Caesar!' That's fine. I'm sentimental about film; I've shot film for forty years or something.

No one knows why a film does well or not. The reasons for this are not important. What is important is the intention you start the film with and the final state when the film releases on a Friday - whether people liked it or not.

Lots of people expect 'Andhadhun' to be a dark film, given it's from Sriram Raghavan. But this film is fun, entertaining, thrilling, and while it has moments of darkness, overall it's not a dark film.

Well I'm Superman, just not action. I'm kind of looking for something with a lot less action and more talking and listening. I also have a film that's premiering Vegas Film Festival, short film, directed by Joel Kelly, it's called Denial and it's a story, short film, 35 mm short film and it's about a man's struggle to choose between the woman of his dreams and his reality, so it's definitely different than Superman. So I'm really proud of that.

I think that the campaign that Fox Searchlight has thrown for 'Sound of My Voice' honors the film's roots and the film's integrity, and I don't think it overwhelms the film at all.

I think television is moving more into movies, particularly with serialization and almost cinematic proportions and expectations. A show like 'Game of Thrones' is a perfect example of that, or even a show like 'The Wire,' which isn't all about instant gratification it's about inviting someone into the long experience of television the way you'd be invited into a theater for two hours. So I think in that way, and the quality of writing in television is probably much better than most film writing.

'Dil Chahta Hai' was too raw. We only thought about the film. We never thought where the film was going to go. We wanted to make a film on our own terms.

Even during my short film days, I approached theatres with the idea of playing them during the interval. They thought it was problematic to screen an offbeat short film in between a commercial film.

I don't think a heroine-oriented film has the capacity to pull an audience like a hero-oriented film in any film industry.

Actually, I've taught creative writing in Turkey, at an English language university, where the students were native Turkish speakers, but they were writing their essays in English, and they were very interesting - even the sense of structure, the conventions of writing, the different styles of writing.

I think films are about having a good time, so I don't know that there's a message. The message of a film is always what a critic writes, and the fun of a film or the emotion of a film is what the audience feels.

A film carries six fine arts - it consists of architecture, painting, music, writing or literature, photography and performance. It's a conjecture of all these things and yet based on literature.

I'd say for a film composer, 'Star Wars' is kind of like the holy grail of film music. It's probably the best film music ever written.

I like to consider myself an all-rounder, and I'm not trying to be King of the Scene or anything. I'd like to do everything, from writing film scores to producing pop albums.

You want to have the experience. As far as the creative side, the more I do this, the more I know that it's all about the writing. You got on a film sometimes and it's sort of half-written, and they expect and think that the actor's job is to bring the extra part and the good part. It's not. We're good at saying what other people have written, but for the majority of it, that's about it, comedians aside. It's all in the writing. Whether that's dialogue or character, or whatever, it doesn't matter. As long as they've done something special, than you can do something special.

Film students should stay as far away from film schools and film teachers as possible. The only school for the cinema is the cinema.

I got into film in an odd way - when I was 17 years old I participated in a Swedish film as an actor. I think every person at that age should get a role in a film, because during that time you want acceptance, and when you have a role in a film you become an important person. I think about that now, and that was my fantastic starting point.

I've always believed that if you want to really try and make a great film, not a good film, but a great film, you have to take a lot of risks.

I was very in my own head as a kid. But I liked it there! I was just writing poetry, writing stories, writing plays. I think I was quite strange. But I was happy.

Budget grows out of the story. If you're writing a story with people caught in an elevator for most of the film, you're pretty sure it won't be a $200 million movie.

My favorite film is "Meshes in the Afternoon," a short avant garde film directed by Maya Deren. This was the first film that I saw that was actually directed by a woman.

The secret to writing is just to write. Write every day. Never stop writing. Write on every surface you see; write on people on the street. When the cops come to arrest you, write on the cops. Write on the police car. Write on the judge. I'm in jail forever now, and the prison cell walls are completely covered with my writing, and I keep writing on the writing I wrote. That's my method.

The good thing about directing a screenplay that you've written is that you see the film in your head as you're writing it and then you see those decisions through to the end.

Major film stars tend to do a film and then have a couple of months off. I'm not a major film star; I'm a jobbing actor.

Writing has to do with truth-telling. When you're writing, let's say, an essay for a magazine, you try to tell the truth at every moment. You do your best to quote people accurately and get everything right. Writing a novel is a break from that: freedom. When you're writing a novel, you are in charge; you can beef things up.

I didn't watch a film after the 1960s. I have no idea who all were the good heroes, directors or producers in the '80s. The only film I watched after all those years was my own film.

I have gained a lot of confidence in my process of making films. It does't mean I'll make a successful film or even a good film, but I know how to make my film.

Whether it's writing a monologue or writing standup or writing a screenplay or writing a play, I think staying involved in the creation of your own work empowers you in a way, even if you don't ever do it. It gives you a sense of ownership and a sense of purpose, which I think as an actor is really important.

The wonderful thing about writing for theatre is you can go anywhere you want with the language. There are no limits. With film, they frown on language - it's always 'Too many words.'

I think writing a book with film in mind is a way to write a really bad books. You can usually tell those books that are packaged to become films.

One must go for a film with an open mind; a film best impacts you when your mind is a blank page to the film.

Late night is no different than making a film, really, except that it's faster, and if you do a crap one, you can do a better one tomorrow. Writing a novel and doing stand-up - that stuff is very similar.

It makes it very easy. I have a beginning, middle, and end, and I don't film for long - about 20 hours usually for a two-hour film - so it's easily watchable in a week for me and the editor. Once I know who the characters are, I only film those characters, unless somebody else forces their way into the film by a scene happening to them or we meet them by chance.

I did sing in another film called 'Empire Records' which is a cult film. 'Grease 2' is also a cult film. You either love it or just think the original was better.

When I write a story or think of a scene, I always play some song in the background. Sometimes when I don't add a song at the writing stage, I do it while editing the film.

You know as a director what you want, but the film is smarter than you, the film says no, the film says there's something more here.

Most of the time you're writing for radio, you're writing for a label, you're writing to stick a hit, and you end up coming out with something that isn't necessarily genuine.

The premiere of Lynne Ramsay's film of 'We Need To Talk About Kevin' at the Cannes film festival provides an apt juncture at which to celebrate the miraculous power - not of film but of fiction. Lo, I have created a monster.

There are few teachers from the film industry to guide newcomers. One can see a gap between the film industry and those teaching at film schools.

I've always been real close to film world. I love film, and I will do things in film, but music is more satisfying. It feels more like me.

There's a film there in competition [of Sundance Film Festival] called To The Bone. It's directed by Marti Noxon. I have a supporting role in it. It got really well received. It's a really great film.

Once you're directing, you're kind of in a certain mode, where you're taking whatever is on the page and forming it into the film that you think it might want to be. So whether it's my writing or not, I still try to work with it in the same way.

Every film for every actor is a make-or-break film. I believe every film has the power to break you or make you. So, an actor will treat every film like his last film. That's the way we need to work, and that's the way you can drum up that passion needed to do good work.

Film is more than the twentieth-century art. It's another part of the twentieth-century mind. It's the world seen from inside. We've come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself. This is where we are. The twentieth century is on film. You have to ask yourself if there's anything about us more important than the fact that we're constantly on film, constantly watching ourselves.

I think my music being referred to as "cinematic" has a lot to do with people just not being used to listening to instrumental music without watching a film. I'm still pretty convinced of that. You'll play Chopin in place of something average and like, "Wow, that'd be great in a film." People say it every time, swear to God. I don't think people have a good relationship with instruments and music anymore. But it's definitely visual; I started writing with this band because of the pictures. I can't really deny it either, you know?

I was never that good on stage with live improv. I was much better on film or writing something and then thinking about it. I was too in my head when I was on stage.

I think that what people abroad want from French film, inside French film becomes our worst fear, "Oh, another film about love!"

Writing fiction is very different to writing non-fiction. I love writing novels, but on history books, like my biographies of Stalin or Catherine the Great or Jerusalem, I spend endless hours doing vast amounts of research. But it ends up being based on the same principle as all writing about people: and that is curiosity!

Nobody told all the new e-mail writers that the essence of writing is rewriting. Just because they are writing with ease and enjoyment doesn't mean they are writing well.

I'm a believer that people need to understand that filmmaking is not a perfect process for anybody. It is a process in which you find the film and the film finds you. And that is every film.

I never stopped writing. I started writing when I was twelve years of age. And I was writing all the time. But nothing was translated until thirty years after I started writing, when The Hidden Face of Eve was translated in 1980.

If you're going to make a film about rage in 2018, 2017... If you're going to make a film about revenge and anger, I feel like that has to be a film about women. I don't really want to watch a film about angry men. I've seen way too many of those.

A successful film is a good film, and a non-successful film is a bad film. It's as simple as that.