Top 1200 Good Film Quotes & Sayings - Page 3

A trap screenwriters can fall into is making scripts that are good reads, which doesn't necessarily mean it will make a good film.

There is no such thing as a good script, onlya good film, and I'm conscious that my scripts often read better than they play.

'Alien' is a C film elevated to an A film, honestly, by it being well done and a great monster. If it hadn't had that great monster, even with a wonderful cast, it wouldn't have been as good, I don't think.

To me, a revolutionary film is not a film about a revolution. It has a lot more to do with the art form. It's a film that is revolting against the old established language of cinema that had been brainwashing the people for decades. It is a film that is trying to find ways to use sound and image differently.

I didn't start out my directorial career with a dance film, as I knew people thought a choreographer will easily make a dance film. And even with a non-dance film, I had delivered a successful film.

I think it's more important to try and make a good film than give a good performance.

I just think Australia tends to make very good movies, so if someone hands me an Australian or an American film script I would guess the Australian film would be more intriguing.

Always care for the writing part first. Every good film project starts with good writing. If you have a good script, everything else follows. Writing is crucial.

I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.

Silence Of The Lambs? is a ?fantastic? film. It's a horror film, and it's an incredibly well-told film that is about point of view in such a unique way. The way that film is shot, the way the eyelines are so close, if not directly into camera, betrays an intimacy with the characters and the audience.

Eisenstein was a good editor. I was trained as a film editor, and I've no doubt that the editor is key to a film.

Does film music really matter to the average moviegoer? A great score, after all, can't save a bad film, and a bad score - so it's said - can't sink a good one.

If offered a good role, I would like to work in a good Punjabi film. This land has produced great writers, poets and actors.

I did New York, I Love You which is a very personal film for me. My most personal film, but it's not like a film I've ever made. I would never do that film as a feature, for instance, because it's not very commercial of an idea.

As a filmmaker when you show your film to anybody, you want it to be liked. You want the reviews to be positive. After watching your film, you want people to feel good.

The way the recession has affected Hollywood, a lot of actors that had robust opportunities before in film no longer have such plum options, so cable has done a good job of becoming a happy medium for artists deemed film actors.

The biggest misconception about me is perhaps that I film all the time and film everything randomly. The truth is I film very little and always when something excites me and seems to mean something for the film.

I loved the material when I first read it, and the experience of making the film was a great one. So when we came around to complete the trilogy, I just signed on board without even reading the scripts because the experience of the first film was so good.

Making a film is like raising a child. You have to be there every step of the way, guide it, provide for it, and finally let it go into the real world and hope you have done a good job. If you don't absolutely love your film then you will loss interest in it and the movie will suffer.

I would happily do any Malayalam or Bengali film, if the script is good and I get a good challenge as an actor.

If you don't think a film looks good then that is just a reflection of how bad the artist was that was using the paint that is really good.

Personally speaking there's only so long you can go from film to film to film. There's an inspiration an actor gets from the stage.

You can have an amazing director and terrible script, and the film's not going to be great. But if you have the most incredible script and an okay director, you could still get a really good film.

One good thing about acting in film is that it's good therapy.

A favorite film of mine is 'Office Space' and I love 'The Hangover.' That is a really good comedy from character in that film, and that is true of 'Office Space' too.

It wasn't really my intention to make movies quickly - it's more to do with the reality of the Japanese film industry. That's been the only way for me to change my situation; to prove how little time you need to make a good film.

When you look at a film like 'The Ides of March' or 'Good Night, and Good Luck' even, those are really contained pictures.

You can't print everything and that's not good for filmmaking, because you wanna have as many options as possible and print as much as you can, but if you're going to shoot a film - an independent movie on film, the only way to really do it is to print your selects.

Making a film - particularly what I think is a good film - is the result of a team of people, and the end result has many, many hands on it.

Whenever the protagonist of the film becomes bigger than the hero of the film, the film is bound to become a hit.

Most of this film, however, is about interpretation - are these people terrorists or freedom fighters? Are they good or bad? Is cutting timber good or bad? And I don't feel like the answers to those questions are simple, so we don't try to answer them for the audience. I wanted to elicit the strongest - and most heartfelt - arguments from the characters in the film and let those arguments bang up against the strongest arguments of their opponents.

Once your acting job is over, you just hope they have a good editor and they put together a good film.

I'm very troubled when editors oblige their film critics to read the novel before they see the film. Reading the book right before you see the film will almost certainly ruin the film for you.

With The Exorcist we said what we wanted to say. Neither one of us view it as a horror film. We view it as a film about the mysteries of faith. It's easier for people to call it a horror film. Or a great horror film. Or the greatest horror film ever made. Whenever I see that, I feel a great distance from it.

I'd rather have a small part in a good film with good people than play the lead in something I don't really care for.

Most people look at a feature film and say, "It's just a movie." For me there is no border or wall between fiction and documentary filmmaking. In documentaries, you have to deal with real people and their real feelings - you are working with real laughter, happiness, sadness. To try to reflect the reality is not the same as reality itself. That's why I think that making a good documentary is much harder than making a good feature film.

There is something that might be called cinematic beauty. It can only be expressed in a film, and it must be present for that film to be a moving work. When it is very well expressed, one experiences a particularly deep emotion while watching that film. I believe that it is this quality that draws people to come and see a film, and that it is the hope of attaining this quality that inspires the filmmaker to make his film in the first place.

I like to act in films, I like to shoot 'em, I like to direct 'em, I like to be around 'em. I like the feel of it and it's something I respect. It doesn't make any difference whether it's a crappy film or a good film. Anyone who can make a film, I already love. But I feel sorry if they don't put any thought in it because then they missed the boat.

Good films are not made by accident, nor is good photography. You can have good things happen, on occasion, by accident that can be applied at that moment in a film, but your craft isn't structured around such things, except in beer commercials.

I'm so aware when you make a film, there are so many elements to get right. So many people with such important jobs. You know, it's terrible. I walk away from a film going, "The cinematography was great, wasn't it? But the music wasn't so good. The casting wasn't great."

I find that male directors are more interested in what the film looks like as opposed to what the film is about emotionally. My job is not to make the film look pretty, and I don't feel drawn to making myself look pretty within the film.

When I begin a film, I want to make a great film. Halfway through, I just hope to finish the film.

"Bruce" was an Eddie Murphy film, so there was a whole different vibe, working on that film, as opposed to working on a [Adam] Sandler film, which I'd done a few of. First of all, there were tons of kids running around. I'm surprised I ever had a kid after doing that film.

I did a Norwegian film called 'Insomnia' that was remade and that was a good remake by a good director, so I'm honoured.

I believe that if your film is good, and if you are good, you will do well.

I would rather make a bad film which does well at the box office than a good film which does badly.

When you think of things like The Sopranos, The Wire, Damages, they are beating film on a regular basis. Most films are terrible. It's only the 2% that are good. There's things you can do on TV which you can't do on film. There is something about those episodic, serialisations that are grand and operatic.

For me, I can't tell you if the film is good or bad, all I can say is for me the film is way better than I had expectation of us being able to make. So for me that's the most important thing. Have we exceeded our dream in terms of what it could be?

For making a good comedy film, you need a good writer whose craft can be understood through the time that he takes to write his script.

If I get a good character, a suitable role, a good producer-director, only then will I do a film.

A film will have many events such as audio release, promotional activities. I did not have that fancy-looking clothes to look good before the camera. So I used to ask my producers for the clothes I wore in the film. I still have my 'Yevadu Subramanyam' clothes in my wardrobe.

I believe thrillers work if the story is good. It is not easy to make a thriller because the audience is making their own story in their minds as they watch the film. You have to break that expectation and still make them like the film.

Talent has no gender. People are hiring young male directors right out of film school, off of a student film or off of a film at Sundance for millions of dollars. You can do the same with a female. It's not a risk about the work if you respect the film that they made.

African films should be thought of as offering as many different points of view as the film of any other different continent. Nobody would say that French film is all European film, or Italian film is all European film. And in the same way that those places have different filmmakers that speak to different issues, all the countries in Africa have that too.

I know when I watch a film at this point, if I completely lose myself in the characters and the story and the world of the film I know that it's at least in my opinion, that was great. Otherwise I'm thinking: "Oh I know they were just doing A, B and C, right before they walked into the scene, then the camera was there, then they probably took the shot from this reverse close-up and moved it into this." When all of that drops away then I'm like: "Okay this was phenomenal, this was fantastic." I mean, any film or TV performance in general is probably good.

When you have your chance to make a film, don't focus on pleasing everyone. I think the goal is to live in that sweet spot where you focus on making a good film and you have fun with your collaborators, but you don't waste your energy chasing approval every which way. When you have a vision and a good story and you've managed to raise funding, it is your approval as a director that everyone should be seeking. It's very simple.

Just wearing expensive and glamorous clothes do not merit for me to do a film. There has to be a good story and a good role.

When you make a film and it wins some award at a very select, very difficult festival such as Cannes, it's good for your fellow film directors and fellow citizens too. Because it shows them that this way is a real possibility.

Film noir is not a genre. It is not defined, as are the western and gangster genres, by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood. It is a film 'noir', as opposed to the possible variants of film gray or film off-white.

How content-driven cinema worked so well... Yeah, the shift is definitely happening... It is such a good change, and it is the kind of change I would like to see so that we just go to watch a film and not put them into brackets - that this is an art film or commercial movie.