Top 1200 Good Films Quotes & Sayings - Page 18

I don't care to analyze acting. On the other hand there is a fascination because distributors are putting out British films. You get films here with great performances you'll never see again. Why compare. We should go after the businessmen.

I don't have any expectations about my films. If they're good, they're good - if they're not, they're not. About 10 years ago, I remember going to see one of my movies - I can't even remember which one now - and everyone was jumping up and down, getting excited, saying what a great film it was going to be. We all went in and watched it, and it was the slowest movie I've ever seen. The next day, the reviews were terrible and half the studio was fired.

To me, the best projects are the ones where you have a pretty good idea of what the spine of it's gonna be, but then all sorts of things happen that you could've never predicted, and those are the magic moments of the films.

I've made a dozen films in the English language. But then, for love, for my family and friends, I returned to Europe... I annoyingly - looking back - turned down films like 007, 'For Your Eyes Only,' written specially for me.

The experimental film scene was very much misogynistic as well. I don't know if you have read what little attention was given to the films of Joyce Wieland, who was the wife of Michael Snow. Michael was the "genius" and she was not. If you look at the films they're wonderful, but very different. Michael was very proud of the films too, so it was not coming from him. It was coming from the general environment. I think both Chantal Akerman and I shared that. We wanted to find a language, which was the language of women.

I think the people who cast films tend to think of me in regard to strong women with integrity and a lot of it has been very good.

In some ways, many of the skills you have as a producer on independent films also apply to making big tentpole films: You surround yourself with a brilliant director, great script and talented people in every department who are smarter than you.

Every actor gets an image without wanting one. A lot of romantic heroes want an action hero tag, but they are unable to succeed even though their films are good.

Most directors make films with their eyes; I make films with my testicles.

A good horror movie - it doesn't matter how many comedy horror films there have been before. Doesn't matter how much you think it's going to be funny. A good horror movie will scare the hell out of you... the moment you sit down and you start being exposed to that story, it's going to freeze your blood.

I like doing personal films, after doing a bigger movie, I enjoy doing smaller, intimate films.

Personal questions, or accusations about delivering flops or not doing good films end up being accusatory sessions where I have to defend myself. That's why I prefer not to do interviews.

I don't believe in misconceptions in art and films. There are always so many different ways to relate to or understand a film. I love films that give a great amount of space to the audience to explore or be active with what the film is saying.

With action films, it's great if it's not just driven by action, but by a good story and interesting characters, as well. Though, there's nothin' like kicking butt!

I make commercial films only. I don't make small, boring films.

I don't make films to win prizes. I make films to make films.

As an actor I get opportunities to do different kind of films. It's not that if I have done a few comedies, I'm averse to other roles or genres. It's just that I go for the films I like and incidentally some of them have been comedies.

When I was 12 I made some little films with my friends. I tried to make gangster films, like Fantomas, but I remember being very disappointed with them. They weren't frightening at all. I'm sure they'd be very funny now.

I don't think films about working class people are sad at all; I think they're funny and lively and invigorating and warm and generous and full of good things.

Films were never in my budget. Didn't occur to me till much later. I hoped for a long, good life, which I've had and I'm having as an actor. I didn't expect the rest.

I don't know why I am not offered woman-oriented films. Films like 'Satrangee Re' went house-full at some centres, but I didn't have much to do in the film. Everyone came up to me and said that I looked pretty but nothing beyond that.

Very bad roles were coming my way, and I didn't want to do them. Hence, I was doing small films like 'Delhi Belly,' where, though the footage wasn't long, the role was good.

Unless we get out of these mindless comedies and a good-for-nothing fellow trying to win over the heroine kind of films, Tamil cinema will not be taken seriously.

I am ready to work in any industry whether its Bollywood, Hollywood, the digital platforms, South Indian film, or Bengali films. Wherever I get a good opportunity, I'll be there.

I am happy judging shows and making films. It is a good thing to do a film and then take up a show, considering it also keeps your popularity alive.

Yes, I was correctly quoted in saying I introduced sex into films in the 20's, but it was sex in good taste and left a great deal to one's imagination.

I think films would get a lot better if people paid leaving the cinema. There's a whole business plan of opening terrible films in hundreds of cinemas and then closing them when the word of mouth gets out.

I knew Secrets and Lies was a great film, but I didn't expect it to get the attention it did because none of his other films had and I thought they were just as good.

New York is fantastic, and I've done several films in Los Angeles which I really enjoyed, but I don't think that America is the be-all and end-all. I'll follow the good work wherever it may be.

Sometimes the best set experiences make for the worst films. So, you don't want it to be too good an experience! But the bulk of your life is working with people and collaborating so you don't want anyone to be miserable on your film either. You want it to be something that people walk away from saying that it was a good experience for them and hopefully a good film. As a director, you are sort of leader of that troupe for that period of time, so you're aware of morale and your effect - how you are as a person and how that sort of trickles down to everyone else.

No one can force you to do a film. I am responsible for the films I chose, hit or flop. I am where I am because of what those films taught me.

As a man - no longer a teenager that can play those really young roles, but as a man - I think I've only just got good in the last three or four years. I only watch my old films because, as someone who wasn't trained, that's how I look at my mistakes; I see something and I go, "Well, that's not good," and I learn from my mistakes. Same with the writing and same with the directing.

I've been influenced by a lot of films. And a lot of them are the typical interesting, artsy films. But I haven't talked enough about how there are those few big blockbusters that really rock your world.

In writing the new films, I’ve come to realize that AVATAR’s world, story and characters have become even richer than I anticipated, and it became apparent that two films would not be enough to capture everything I wanted to put on screen.

In terms of romantic films, all-time romantic films, I really like 'Gone With the Wind.' And I realize I sound so cliched saying that, but there's something so absolutely romantic about it.

I'm very careful about how I portray violence in my films. I do believe that violence, especially violent video games, are not a good thing for young kids.

What I want to do is make films that astonish people, that astound people, and I hope you want to do that too. It's easy to make money. It's easy to make films like everybody else. But to make films that explode like grenades in people's heads and leave shrapnel for the rest of their lives is a very important thing. That's what the great filmmakers did for me. I've got images from Fellini, from Bergman, from Kurowsawa, from Bunuel, all stuck in my brain.

You don't have to do offbeat films to prove that you can act. I have done it but only to prove myself that I can fit convincingly into every kind of films. I want to do the 100 crore film where the hero does all the work, and I get to relax.

I'm a cinephile. I love foreign films; I love films that are really immersive.

There are lots of great movies coming out of the U.S. but it's not something I've ever really been interested in. They're great films but I much prefer the smaller independent films, which are more thought provoking and experimental.

Everywhere I go today, people talk about Bengali cinema. I completely refuse to accept that Bengali filmmakers are not making good films.

There are so many varieties of films. You've got the jet-lagged films, where you fly to Bulgaria or wherever and get off the plane, and they bring you right to the set, and you start working, even though I don't even know my name, it's been such a long flight. Then there's the alimony films. But after you've been doing this long enough, you've gotten into every kind of situation you can imagine, even to the point where there is basically no script, so you have to kind of do it scene by scene and survive.

I think comics can be the basis for great films, but I think the focus of such a project should be on making the film as good as possible, not on painstakingly replicating the comic.

I care about Bond and what happens to him. You cannot be connected with a character for this long and not have an interest. All the Bond films had their good points.

With all of my films if I get one bad review and a bunch of good reviews the bad one is the only one that will stay with me, which really sucks!

When I am composing in a studio, I cannot gauge what the audience feels. Sometimes, good songs don't get the recognition because the films fail. But when you are performing live, the reaction is immediate.

Growing up, I wanted to write films and make films. Even as I took this detour and stayed in the music world, I still think in terms of 'What is in this room? What is the shot? Who are the characters? What is the conversation here?' My sense of pacing is very filmlike, it's not musical.

I teach at USC. I have a big class of 360 kids, only about a fifth of whom are film majors. I don't just show the Hollywood blockbusters. I show independent films, foreign films, documentaries.

I don't like watching horror films. I actually don't. I don't watch horror films.

In '13 Assassins' the biggest challenge was that action period films, for budget reasons and because of the age of the actors involved, are not considered to be a good business decision by some companies.

I'm happy - at times - making films. I'm certainly unhappy not making films.

I have some calls out to Tom Cruise, Brad Pitt and Eddie Murphy. I said, 'I won't star in any blockbuster films if you stay out of animated films.' They just won't call me back.

People think that I have some idea about how I choose my films. I make sure that I am doing the kind of films that I want to watch. You hear so many stories, and one of them will stand out and connect to you somewhere.

From my films, you can at least learn about Iran, you can get a sense of the history and the society. But no such films have been made about Afghanistan, so you really can't know much about it.

My films are comical films. They are made to laugh at. They are comical - and scientifically correct.

How often do we make films just celebrating people that do a good job, work altruistically, and are in it just for the sake of the love and not the business?

American movies are often very good at mining those great underlying myths that make films robustly travel across class, age, gender, culture.

I don't pay much attention to the press. My films always get good reviews and bad reviews. I just try to make the best film I can.

June is definitely a special month for me as many of my milestone films have released in this month, but that doesn't mean I consciously choose to release my films only in this month.

I don't make romantic films. I make films about human relationships.