Top 1200 Good Film Quotes & Sayings - Page 16

It's hard to see a film one time and really "get it," and write fully and intelligently about it. That's a review. That's not film criticism.

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.

I think it remains a film-by-film process, and since I am relatively selective and slow, it can take a while.

For film fans to support 'The Imitation Game' means so much to me, the entire cast and film-making team.

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.

Each film has its own fate, and you can't go through personal emotions based on the highs and lows of a film.

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.

I'm really into acquiring film paraphernalia - that's my hobby. I love old movie posters, cameras and film reels.

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.

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

I got into film school thinking I was going to make features, like every other film geek.

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

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 saw 'Birth' at the Sundance Film Festival with a thousand other strangers, and I couldn't believe that was me in the film. I didn't recognize myself.

I did a few documentaries as co-director and cameraman. I started off shooting a film about the war in Rhodesia. Then I did a film about an 'around the world' yacht race with a friend, and we spent nine months on a yacht. The film was about how people get on in confined spaces under extreme stress.

'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.

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.

I never control a film. The film controls me.

Up until then, whenever anyone had mentioned the possibility of making a film adaptation, my answer had always been, ‘No, I’m not interested.’ I believe that each reader creates his own film inside his head, gives faces to the characters, constructs every scene, hears the voices, smells the smells. And that is why, whenever a reader goes to see a film based on a novel that he likes, he leaves feeling disappointed, saying: ‘the book is so much better than the film.

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.

The crime film is the most honest American film.

I have always believed that if a film has only two characters, but they do not make any sense, then the film's meaningless.

After my first film, I was having trouble finding a second film. I had a lot of attempts that failed.

A gem of a short film has a sense of pure joy in animation that is different from anything you see in a feature film.

Film was something I didn't really think about when I was young, because if you looked like me, you weren't a film star.

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.

I think that film festivals, we're very often given to understand, are about filmmakers and about films and about the industry of filmmaking. I don't believe that they are, I believe that film festivals are about film audiences, and about giving an audience the encouragement to feel really empowered and to stretch the elastic of their taste.

Basically, actors arrive in a bubble. They have a little sealed bubble around them and it's basically [comprised of] their agents, their last film, their next film, their press agent, and their per diems - all these things, they cocoon themselves with and you have to puncture that bubble on each of them to make them be in your film.

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

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?

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.

When you do a film, all you want is to make the best film possible. You don't think about Oscars. But it's really flattering. Please, bring it on!

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.

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.

I try to make each film a different film.

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.

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.

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.

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

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.

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

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.

Regardless of what film you make, you want people to watch your film, and you ultimately need commercial success.

The life of a film is very strange. Once the film is done, you wish you could forget about it and move on.

How can you work in film and still see the overt racism that exists in film and not just be furious all the time?

I'm not really premeditative in any way at all. I come up with an idea, hopefully for a film, and then I'm lucky enough to do the film.

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

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.

The Limits Of Control is not surrealism, but it is an experiment in which expectations are deliberately removed: expectations for narrative form, for action in a film, for certain emotional content. We wanted to remove those things and see if we could still make a film that was a beautiful film experience, with deliberately removing things many people would expect.

What challenges me is this - I want to walk out of a film with the experience of having done a film, not with a feeling that I have sleepwalked through it.

'Neerja' is such a solid film. Everything about the film has substance, be it sound, writing, story, background scores, or direction.

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

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

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

In an action film, you think of things that are almost impossible to do and yet you have to manage to show them as being possible on film.

There are some actors that are great stars and storytellers, but not necessarily good actors. I'm talking about some - not all - of the people you see in action flms or blockbusters. They're film stars, though not necessarily great actors. And there are those who are great actors, but not necessarily big film stars. Jim Sturgess is both. He's quite obviously a star, the audience likes him, he's a great storyteller and he turned out to be one of the greatest actors I've worked with as well.

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

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.

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.