Top 1200 Good Film Quotes & Sayings - Page 19

This is not a football film. It's about two individuals - two good friends telling their story.

The first thing I say when people ask what's the difference [between doing TV and film], is that film has an ending and TV doesn't. When I write a film, all I think about is where the thing ends and how to get the audience there. And in television, it can't end. You need the audience to return the next week. It kind of shifts the drive of the story. But I find that more as a writer than as a director.

As an actor, I am only excited about doing good work - be it in mainstream Hindi cinema, Hollywood, a French film, or a Marathi movie.

Film maker Andi Olsen has a wonderful short film called Where the Smiling Ends. She waited at the Trevi Fountain in Rome and filmed the tourists only at the moment after their photos had been snapped, the moment their smiles dissolved. It's genius and heartbreaking. I think about her film when I explore the places the strips malls meet the wild world they are eating up.

What is a commercial film? I think every film is commercial, as every film makes money.

You must not demand the failure of your peers, because the more good things that are around in film, in television, in theater - why the better it is for all of us.

I am just pitifully nostalgic. I can't help but roll my eyes at myself frequently. I mean, I still shoot black-and-white film. And I am constantly reminiscing about the 'good old days.' I'm 28 years old. There haven't even been that many 'good old days.' But still, I love to look back.

Well, you'll find the most boring part of it is the waiting, at least if it's in films anyway. Television's a lot faster, but the product... I don't think it's as good as a film.

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.

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 stage you never watch yourself. You just experience it, and then you go home, and you feel pretty good if you gave a pretty good performance or crappy if you didn't. But in TV and film, you actually have to experience it while you're doing it, and then you have to watch it. And then when you're watching it, you watch it with a different sensibility than how you experienced it.

Stars are a part of our emotional psyche, but audiences should also support a good indie film which may not have a big star.

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.

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.

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.

Even if the film doesn't come out quite as you'd hoped, the process can also be very rewarding. I feel that way about a film called 'Lay the Favorite' that I made with Stephen Frears. I did that because the character was a real leap for me. The film doesn't quite all add up internally, but I feel very proud of what I did on it.

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.

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.

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.

It doesn't matter how big the film is - if the story is not good, it will not be accepted. Stardom can maybe pull audiences to theatres but beyond that it is all about content.

It's good that I've put out different books apart from 'After' - and before the film comes out.

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.

It's not good just to have life experience of film-making and that's all. It's hard to play a real person when you've been in jets and town cars for three years.

Waiting is always a part of people involved in the film industry. Be it on the floor, in the make-up room or at home. All my life I have waited for a good role.

One of the things that makes any good entertainment, whether it's a play, drama, comedy, television, film, whatever, is that you feel a certain amount of spontaneity.

In France and other European countries, film stars are more celebrated. In Germany, if we are good at what we do, we are respected but not acclaimed. And, of course, we are not paid like Americans are.

I don't think that 'No Man's Land' is a comedy. I think that it's a serious film with a good sense of humour.

If you make a film, that magic is not there, because you were there while shooting it. After writing a film and shooting it and being in the editing room every day, you can never see it clearly. I think other people's perception of your film is more valid than your own, because they have that ability to see it for the first time.

I really never thought I was that good at film. And honestly still don't. My strength is language. My background is monologues and a certain kind of Brechtian spin on theater.

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.

My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.

I would say the three stages of making a film are the initial 'are we gonna do this,' 'how much will I be paid,' is there a lot of nights, who's it going to be with? The second stage of doing a film is how much fun your going to have doing it. The third stage is was the film a hit?

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.

To me, a good film is one that can keep me engaged for two hours.

There was definitely a learning curve in terms of being on film, but being on a set was all good.

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 like being part of a film scene where the person at the top is a really good person.

I want lot of luck and want all my films to be really super hits. I don't want to hear that the film is not good, but you did a good job. I am tired of hearing that. I am hoping for little luck so that my films do really well.

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.

Some things definitely work better on film than in books. Introspection is great in books but it doesn't work on film. Anything with high intensity, whether it's a love scene, a car chase, a fight scene - those things work so well on film and oftentimes they can tell a much broader part of the story.

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.

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.'

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.

Deeper fulfilment is rather different from the happiness of seeing a good film or watching your team win at football, and it doesn't come at the push of a button.

I am not from a film family. I don't know much, but I definitely knew that if I want to be a good enough actor, I should be able to do any sort of role.

It's funny, I can sit through the worst horror film ever made but even a quite good romantic comedy can drive me nuts.

I think back to back romantic comedies are good for black film.

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.

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.

I was lucky enough to get a very good agent at the age of 15, and got my first film when I was 16, so it's been rolling on since then.

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.

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.

There is a scene in one comic from the '60s-'70s where Batman finds a film, a newsreel film, of his father. This newsreel film is from the '50s, and his father has come to this costume ball in a Zorro costume, which strangely enough looks a lot like a Batman suit in the footage.

I think making a film that you think is good and you believe in is going to be difficult forever.

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 think every good, entertaining movie should have a message. I really believe that, because if you do it without it, the film feels a little bit soulless.

I think, doing a first film, at some point you get halfway through, and you wonder, 'Is this is good enough to define who I am for the coming decade?'

No critic writing about a film could say more than the film itself, although they do their best to make us think the oppposite.

It's really good to talk about it [ hydraulic penises and prosthetic butts], and it's very gratifying when people ask us about the other aspects of the film [Swiss Army Man], but [those things] are part of the movie and they're important and hilarious, a very fun part of the movie, so there's no sense from us of not wanting to talk about that. I think it's exciting that those things exist in a film that is also very heartfelt and emotional and profound.

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.