Top 1200 Good Films Quotes & Sayings - Page 19

Maybe by his second year in Hogwarts, Harry Potter will learn the trick to making a movie this good but don't bet on it. It's one of the best films of the year.

As a kid, I couldn't articulate it but I sought out things that could. At first it was horror films - extreme panic and terror, grotesque and maniacal. These films calmed me and made me feel more connected in my experiences.

We see so much violence in films, whether it is Bollywood or south films. People are shown blowing up each other onscreen. It's like a seed that is planted and you keep feeding it with small doses. It's cancerous and does affect society.

The older I get, the more I'm drawn to the smaller films, but I still hope to keep bigger films in my repertoire. It's just maybe going to be a shift in focus, but I'll definitely still hopefully be kicking around in those.

I can think of films that I'm producing right now that are extremely hard-hitting, graphic films, that nobody necessarily wants to see, graphic in terms of violence, of adult content and racial and historical subject matter.

I like watching films that are 94 minutes as a spectator. I think it's rare that you don't come out, even from a good film, thinking I wish it could have been a little bit shorter.

A lot of the ancient Norse myths and legends are the basis of a lot of the sci-fi, fantasy films out there. Telling these stories in a contemporary medium, it's all good.

Stanley Kubrick, I had been told, hates interviews. It's hard to know what to expect of the man if you've only seen his films. One senses in those films painstaking craftsmanship, a furious intellect at work, a single-minded devotion.

I won't play any blame games for my films that didn't work. But I've been working towards getting good roles. Even Abhishek Bachchan became a superstar after delivering 17 flops.

I don't think I've succeeded in making any really good films. There are moments, scenes, whole movements that sing. It has all added up to a cinema of sorts, even though I'm still learning my art.

Comic books and films have a lot more in common than, say, comics and books or films and books. The two art forms, to me, seem like pretty close siblings.

If Hollywood can make films on insects and make big money, why can't we make films on Punjabi culture?

I was frustrated because I couldn't get going, as I was trying to figure out how to make films. I had various jobs, I taught a SAT class, I was a bartender, I had a day job at an office and was making short films.

In the United States there's not a lot of people interested in foreign language films. Every time, it's more difficult for foreign language films to survive here.

Who are these people who are taking these decisions of casting only young actors in films? It is the filmmakers and the film producers. I don't know if that is what the audience wants because I really believe that masses respond to a good story.

Films don't always tell a story; some films can achieve effect just by being razzle-dazzle or rock n' roll. That's part of the fare that's out there. And that's okay. For me, I place more value on a story.

I was slightly disheartened when three of my films didn't work at the box-office. But the silver lining is that people did appreciate my work in those films. Had my performance gone unnoticed, I would've been in big trouble then.

I had to continuously do films to shrug off the mini-screen image and it was a struggle. Initially, I was taken off from many films due to this and I dealt with it by signing every other film I got, even compromising on the quality.

I made lots of short films, about nine or ten short films. And then I made a television film called 'This Little Life.'

I loved films like 'When Harry Met Sally' and 'Annie Hall,' but these were very specific, white Manhattan experiences. You don't see a single person of color anywhere, but somehow these films are universal. As a filmmaker and creator, I was frustrated with that idea.

You shouldn't think about the fate of the films. The film might succeed or fail, but your performance must be good. You should work hard for every film.

The movies I make - the goal isn't a mass audience. They're not expensive films. So the attempt is to reach a much more limited audience - one would say an audience that enjoys films that challenge them emotionally and intellectually.

To be honest, I make very controversial films. The films that I've made have been very, very bold choices.

The industry doesn't usually say nice things about my work. My films take a while till they are accepted as good and I think 'Yennai Arindhaal' too will go through that phase.

My friends are always honest with me about films. But I really wanted to talk to regular people and kind of have a forum to interact with them; not just about films, but about everything.

Comedy films never die, all they need is a good script instead of merely relying on humour. That said, I would love to portray more characters like the one I play in 'Perariyathavar.'

I'm not going to read reviews like, "I have to do these things." Any good criticism makes you think about your own films and about cinema in general.

We are a family that likes to keep things abreast about what's happening in the country so dinner table conversations revolve around Social, political, films... a bit of everything. Films we talk about the least in fact.

I've made a number of independent films that didn't receive theatrical distribution, that a lot of people haven't heard of, and as a result, I've conditioned myself to go into small independent films with the expectation that they will not, and therefore, I have to find my reward elsewhere.

Walt Disney wasn't making films for kids. Neither were the Muppets. A lot of the great, really cool films, they weren't making them for kids.

I think sci-fi films have become rather bleak, and understandably so - I think we've made some big mistakes globally with how we're developing, and we deal with that guilt by creating these very dystopian futures in films.

Dark Water was one of my favourite films to shoot because of Walter. I had seen the previous films he had directed, Central Station and Motorcycle Diaries, and I thought they were great. I really trusted him.

'Aashiqui' and 'Dil Hai Ke Manta Nahin' are great franchises to take forward. Both films were big hits back in the day. I definitely want to make these beautiful films into franchises in future.

I can't always be making "British films". Why should we be making films about corsets and horses and girls learning to drive when Americans send over an event movie and make five or 10 million?

Dark Water was one of my favourite films to shoot because of Walter. I had seen the previous films he had directed, Central Station and Motorcycle Diaries, and I thought they were great. I really trusted him

In America, they shoot budgets and schedules, and they don't shoot films any more. There's more opportunity in Europe to make films that at least have a purity of intent.

I have made a lot of movies, but I don't see any point in talking about films I don't think are terribly good. I have been in a few. I don't know any actor that hasn't.

I'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.

When I was making short films for the TV show 'Naalaya Iyakunar,' I wasn't just competing but making films that I could potentially show at international festivals.

I enjoy the making of the film and it's something for me to do. If nobody ever comes to my films, if people don't want to give me money to make films, that will stop me. But as long as people come all over the world and I have an audience and I have ideas for films, I will do them for as long as I enjoy the process. And I like the whole process of making a film.

I did five movies in Australia, I did three films in Germany, this is the fourth film I've done here in the UK, I've done a bunch of films in Canada.

I thing for female filmmakers a big issue is making their second and third films. You see the statistics, and the dropoff on the second and third [films] , are dire.

For me, it is not about being a part of a hit or a flop. Films are about friends, learning, and experiences. Certain films give me happiness.

I think once you have films in certain festivals you begin to have name recognition, and there are possibilities. Especially for independent filmmakers, it's always good to try the international market because it doesn't have the same kind of baggage.

I have done performance-based roles earlier, films which revolved around me. 'Kshatriya' was one such solid role. And, at that time, people had written good things about it.

I love films. I love fiction films, too. I do. I love making them, but it has to be the right one. Hopefully, I'll never become a director for hire. It's horrible to make a film that you're not really interested in.

I can't always be making 'British films.' Why should we be making films about corsets and horses and girls learning to drive when Americans send over an event movie and make five or 10 million?

My painting and writing has always been parallel. That's why probably where my colleagues have done 300 films, I have done only about a 100, out of which I'd say at least 30-35 films I am even proud of.

I don't even watch many huge films. I don't go to the cinema every weekend. I watch selective cinema and want to make my kind of films.

I think the films we see, the Hollywood films, which are basically entertainment, will still be there, but they'll be in a totally different category. People won't take them seriously. They'll kind of end up the way comic books have. A side view of things.

In the beginning, it wasn't even a question of deciding I'm going to do independent film and not commercial films - I wasn't being offered any commercial films, and there wasn't an independent scene.

In the last ten years of watching films I have found that some of the foreign films I saw affected me most. One American film that stands out for me for its workmanship and artistry is 'Ratatouille.' It was an astonishing effort in filmmaking.

I am a greedy actor: I want all the scripts to come to me. So I do all the good films which come my way, even if it means I'll rest a little less.

Cult films last forever. I have been in plenty of films that no one will remember, so it is nice to be in some movies that some people do, and that they pass it along to the next generation I'm meeting kids named Ash now.

I grew up with Western films, and I always wondered why Bollywood never made films like that. Why do we always have to break into song?

I don't watch many films. I just make sure my directors are really good. I will work even with a debut director, but the one-hour narration of the script should be mind-blowing.

I love films that make me react emotionally and physically when you walk out of the cinema. Two of my favorite films however have got to be 'The Tree Of Life' and 'The Piano Teacher,' which also stars one of my favourite actresses Isabelle Huppert.

Any hit films, impact-creating films, leave their mark on the industry. It is in human nature to try to follow something that is creating an impact.

If you remain open to great directors who look like you, who know what they're doing and are making impactful films that are destroying these 'blockbuster films,' you can do okay, and everybody can get more of a piece of the pie. But you've got to be open and brave.

The problem with working with a record label is they maybe a song I want to make a video for that they will refuse to make a video for because they don't see that song as a single. And I found that very frustrating. I realised what I was doing was making these short films for the blind. They were films and all you had to do was put some headphones on and close your eyes and listen to my voice and you'd be able to visualise the images that I'm putting into your brain. And so I started calling what I was doing 'films for the blind'.