Top 1200 Great Film Quotes & Sayings - Page 10

When I was going for my graduate degree, I decided I was going to make a feature film as my thesis. That's what I was famous for-that I had my thesis film be a feature film, which was 'You're a Big Boy Now.'

Film was something that I didn't see as a step up from music videos, though obviously, music videos, the fact that you work with a crew and a film camera, are the closest to film I've ever been. That is the only schooling I've ever had.

It's great to imagine and visualise while reading a novel. It doesn't always work for a film. 'Pavithra' had a good script executed badly.

Film schools are now nearly 50-50 male-female, and women are also well represented at festivals and in indie film. But what happens to them after they direct their first film or short? Where do they go? They certainly aren't being given the same opportunities as their male counterparts.

This particular film highlights Ben and Owen's strengths which is that they are great comedic actors with tremendous chemistry and they do a really good job.

Make the film that you love. When you find a film that you love, every molecule of your being will be moving in the direction of making the best film you can possibly make. This should be your default mode of operation.

Whoever renders service to many puts himself in line for greatness - great wealth, great return, great satisfaction, great reputation, and great joy.

'Cuckoo's Nest' came along, and I was cast, and that was great, but it was my first film, so I felt like I was kind of walking around on the set as Walk-On A.

Miracle at St. Anna.' I was challenged by Spike Lee. When he offered me the film, he looked me square in the eye and said, 'You start this film off and you end this film. I don't want a dry eye in the theatre. Can you pull that off?' He was dead serious.

I feel that Pride and Prejudice is an incredibly well constructed novel on every level. The dialogue is great. The character development is great. The plotting is great. The pacing is great. The language is great.

For me, the challenge of a period film is that, unlike a contemporary film where the character can be very free-form when it comes to the acting, there's a burden to acting in a period film because you have to stay within the character's historical background and the gestures of certain periods.

For any filmmaker who has just released a film and who is experiencing some measure of success, the temptation can be great to respond to every screening request that comes in.

I think the superhero platform gives the female character, you know, a relate-ability for the male audience as well. So, I think that's why people are kinda gravitating towards female super hero characters, and also female characters in general as big parts of the film. So, that's great for us, female actors who want to do roles like that, which is really great.

"Mansome" was one of those projects where it was a great change to do something fun and look at the subject in an engaging way. My next film is not going to be about pedicures.

'Miracle at St. Anna.' I was challenged by Spike Lee. When he offered me the film, he looked me square in the eye and said, 'You start this film off and you end this film. I don't want a dry eye in the theatre. Can you pull that off?' He was dead serious.

In many ways, I was a typical young guy out of college. I was at Oxford, where every night there'd be a late showing of some great film.

I only would say yes to a film, do a film or any project, if I think I would watch it. Whether the audience will like it, not like it, how will they take to the film, these are not things in your control and you shouldn't bother about them.

I met Michael Snow and Stan Brakhage the second day after I arrived, you know. I had never seen or heard of Brakhage. For me, it was a revolution, because I was well educated in film, but American-style experimental film was known to me in the abstract, and I had seen practically nothing. I had seen a film then that Noël Burch had found and was distributing called Echoes of Silence. It was a beautiful film, three hours long. It goes forever and it was in black and white, very grainy, and I saw that film and I thought...it was not New Wave. It was really a new concept of cinema.

It's a word called symbiotic, you send the messages and it comes back in return. Together, it's a wonderful thing, it's why television is so great and film can never reach.

When I was shooting 'Mud,' every day was my favourite! I had so much fun on this film and loved working with all the cast and crew! It was a great experience.

I've got a lot of respect for a handful of coaches, and there's a lot of great stuff put out there on film. So, I always want to stay up to speed on those current trends and figure out if you can steal something that fits your players and your system. I'm certainly not afraid to steal from some of these great coaches.

Every great film should seem new every time you see it.

I use the Philip Kingsley range of shampoos, and they've got a great elasticiser, which is fantastic. I wrap my hair in cling film and put that on.

Chicago is a great place because you can experience theatre, film, television, anything and everything, so for an actor it's exciting. The doors are kind of open.

Even with a stable character, you want something surprising to happen, hopefully because that's what the camera loves the most. That's what is great about film.

There's no more film. Film is gone. We photograph digitally and electronically. We don't really use film the same way anymore - it's disappearing little by little. Things change. We have to change with them. There's no point in liking or not liking it. It is what it is.

We're all humans. Any human can tell any human's story. I don't want to have this conversation about black film or white film anymore. I wanna have conversations about film.

It's good to be busy on a film set because there is a lot of sitting around, so if you've got two roles to play at one time, then that's great to do.

The great thing about filming a film is that you all have your final day's shooting, but you always know that you're all going to be coming back for the premiere.

Whatever field you can do that, that's where you want to do it, and I think that's why people like David Fincher and Ridley Scott are interested in it, too, because when you sit down on a meeting in HBO and they're like, "More, more." You're just like, "Oh yeah, I love this." Sometimes it's a little harder in film. I think also it's a great audience, take advantage of it. It's a great audience.

We have a strong tradition in Toronto of really great film writers, and growing up in that climate is a big reason I pursued cinema studies.

It will be an honor to work in the remake of Rajinikanth sir's film. I will be producing as well as acting in the remake of his film 'Moondru Mugam.' I'm a huge fan of his film and I'm really excited to be part of the project.

My job as a character actor is to make me fit the character, to serve the character. To present this human being who turns up in a piece of film or entertainment that's going, you know, exist as if it might exist after the film is finished and it existed before the film has started.

If you take 'Agni Natchathiram,' it is about two half-brothers and their emotions and those are genuine, which can be made into a very hard-hitting film just that it can be presented in an entertaining fashion. Similarly with 'OK Kanmani,' it is a genuine film; it is not a flippant film just for commercial purposes.

Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.

Personally, I don't think the film and television industries are run as well as they used to be. Oh sure, we've got great digital effects now but... where are the visionaries?

NYU Film School was the way to learn about film, to be exposed to film, to go to repertory houses, to be exposed to New York and see films. I would go to the library and see one, two or three movies a day.

I grew up loving film and television. Film, in particular. I would never feel as inspired - it's sort of the same for music with me as well, but I never got the same kind of feeling with music as I did with watching film.

Film is the packaging of information in cans. Videotape is involved with the feeding back of process. Film rips information away from the situation for use elsewhere. Videotape can be fed back into a given situation and enrich experience. Film extends man as a spectator. Videotape extends man as a cybernator. Film imports information. Videotape implodes indigenous data.

I will do a big-budget film. I will do an indie film. I will do a short film. I will do a digital platform show, television, and even theatre. I don't have any restrictions in terms of platform as long as the content is something that I find interesting.

I was playing the game where I was going to be a great TV or film writer some day and there was nothing else that I thought about, including other people.

To be in someone's favorite film is just - that's what you want. You want to be in great films that are memorable.

The way Hollywood works, you're never sure if their first thought is to make a great film and honor the material or just another business property.

There is a friend of mine that is very into the comic book world, and he showed me '300,' and I looked at it, and I said, 'Wow, that could be a great film.'

But since doing the film ["The Invisible Woman"] I've really learned to appreciate [Charles Dickens], he's phenomenal. "Great Expectations" would be one of my favorites.

I never expected 'Theen Maar' to have such a great opening. Pawan Kalyan is a huge star in Tollywood, but for me, it's just my second film.

I went back to Dallas for a little while to finish my short film 'Rusty Forkblade.' It was not the instant success I thought it was going to be. There's a false narrative that if you make a short film right after senior year, you'll be plucked out to make a feature length film, and the rest is history. I didn't do that.

I get to work with incredibly talented young filmmakers and students, and their attitudes and relationship with film is still so pure. That re-inspires me and reminds me why I got into it and what I love about film, and allows me a little reprieve from the business side of it. And it rekindles my love of film.

Though I am born into a film family, I hardly had much exposure to shooting during my growing years. My first film actually taught me about the breakdown of shots in a film. My aim is to do three memorable roles in the next five years; films I can be really proud of. And I want to work with the best.

It's a privilege to tell stories on film. It can be a great community to live a professional life. All of us that do this work should feel very grateful that we can.

We have a generation of black actors playing leading roles on film and TV - Idris Elba, Chiwetel Ejiofor - which is great and is breaking the mould.

Our atheism family tradition is traced to a - I don't know if it was great-great or a great-great-great grandmother who was a poor Irish-American woman in the 1880s in western Montana.

'Black film,' unless it's lucky enough or creative enough, or timely enough to build a life of its own, hangs subjacent to 'white film' on Hollywood's financial score board... aided and abetted by the supposition that so-called black film has no foreign market.

If forced to choose my favourite film, I would have to say 'Raging Bull' because it was the first feature film I worked on, and it was like having pure gold in my hands. But my husband's film 'The Life and Death of Colonel Blimp' is equally a favourite because of its enormous emotional power.

As I began making my feature films, it was a great adventure. It was about constructing something I saw in my head or I had designed on storyboards and capturing that on film.

It's a matter of pride to me to get the film done fast, to get it done well. I understand the need for compromise. There is no such thing as a perfect shot, a perfect film. The purpose of film is not to make a monument to oneself.

When I'm marketing a film, whether its mine or someone else's, I work with a great deal of strategy and elbow grease until the job is done.

For someone who has no connect with Tamil Nadu, the language or the film industry and to be welcomed by some amazing names purely for my talent feels really great.

Whatever experimental film aromas cloaked my movies were because I'm a gleefully clumsy, primitive filmmaker. I really like traditional pleasingly narrative films, but I also just couldn't resist throwing in the disruptive. It seems to me that art-house film is at its glorious zenith right now, maybe it can even get better? There's just so many good films, you know Cemetery Of Splendour, Arabian Nights, Miguel Gomes, just so much great work coming out.

I went from silent films to watching French new wave cinema. I became entrapped by it all. That's when I knew I wanted to do film. The moment you start looking at film from a critique point of view - there's a difference between watching a film as an audience and with a critical point of view.