Top 1200 Great Film Quotes & Sayings - Page 11

As a creative agency, the film industry is thinking great subjects, presenting them wonderfully well, and giving opportunity to new faces each day.

When I'm writing film music, I feel like I'm more a filmmaker than a composer. It's more about what the film needs. I'm basically part of the team that's creating a film, and the music is a very important part, but it's just one part of many.

Sometimes it's great, sometimes it's bad. I think the film could have been a lot better.

I've had the opportunity to work on some really great indie features. One of them being 'Little Savages,' which is a super fun family film.

I would love to do a film with Shah Rukh Khan or Salman Khan where I also have a great role.

I remember when I was like 19 years old and I started a desk calendar company to pay for my first short film, just so I could say one day that my daddy didn't pay for my first short film. And I really established myself in the film festival world.

'Kaaka Muttai' has gone places. It's a great feeling. There is respect from family and friends. The film has travelled to international festivals, and I was able to meet big directors.

There's plenty of great independent films to do, but you can't support yourself making independent film as an actress.

I always envisioned working in film and in theater. Theater and film are not, they're not in any way substitutable. What I love about theater is so different from what I love about film, and I enjoy the craft of both.

If you're a film fan, collecting video is sort of like marijuana. Laser discs, they're definitely cocaine. Film prints are heroin, all right? You're shooting smack when you start collecting film prints. So, I kinda got into it in a big way, and I've got a pretty nice collection I'm real proud of.

The editing process was a free-for-all, and since I hadn't gone to film [Dream of Life] school or anything like that, I just said, "We'll do this. We'll do that." It was a really great experience that way.

That's what I wanted to do... I wanted to make a great film that just happened to be based on a video game.

Promoting a film can get tiring but if you find a clever way to promote it, it can be fun. Also, it is not fair to yourself and the film if you don't promote it. You've worked hard for the film for the past six or eight months and then if you don't give it your all and create awareness among the people then it is not fair.

There is a whole bunch of great British actors of my age who aren't film stars or theatre actors; they're very much both.

Miyazaki has a great talent, but I really struggle every time I create a new film and am far from Miyazaki.

If you think back to the great French directors it's difficult to think of British film-makers who are comparable.

Comedy does offer an avenue to television and film careers for untelegenic people that great drama does not.

I had to pinch myself. I got the call and didn't expect it. And right up 'til nearly the end of filming, I was thinking, 'Am I actually doing a film with Akshay Kumar?' because I was a massive Akshay Kumar fan before, and the first film that I ever watched was his and Katrina's film, 'Namastey London.'

In L.A. Confidential, it was great to surprise the audience with Guy Pearce and Russell Crowe - two Australian actors that they didn't know at all - and let people discover them through the course of the film.

I came back to Haiti after the earthquake not to shoot a film, but to help and be a part of the rebuilding process, like all my fellow compatriots. I didn't come to shoot a film, but I became frustrated when I realized that my help was kind of useless. We all felt lost and helpless. And it's out of that frustration that I decided to shoot a film.

Yes, I faced camera for the first time for '18th Cross.' It was a great experience for me to be part of a film after working in some television serials.

I have been inspired by world cinema in different ways. But no, 'Raja The Great' is not a copy. It's not based on any film. You will see a lot of Telugu nativity, moreover.

I think it's great to be able to go and watch a short film before you watch a feature.

There's a great freedom you get when you're making TV that you don't get when you're doing film.

The thing that separates a so-so director and a great director is a love and caring for film.

I think my music being referred to as "cinematic" has a lot to do with people just not being used to listening to instrumental music without watching a film. I'm still pretty convinced of that. You'll play Chopin in place of something average and like, "Wow, that'd be great in a film." People say it every time, swear to God. I don't think people have a good relationship with instruments and music anymore. But it's definitely visual; I started writing with this band because of the pictures. I can't really deny it either, you know?

I think film should be interactive. But at the same time, it's also great to go see a big popcorn movie and be taken to a complete fantasy world.

When the film [Certified Copy] was in the Cannes Festival, I realized that the fact of having it shot in a different culture, in a different language, in a different setting, that wasn't mine and that I didn't belong to, gave me a totally different relationship to the film. When I was sitting in the audience during the official screening in Cannes, I didn't feel that it was my film.

Various studios are still shooting on film with digital grain and the DI negatives, it's not ideal. We should really be all film or all digital. But that being said, the old way of graining in the camera, now you can make changes like a painter. It's dangerous because you can ruin the film, you can over-fiddle. We've all seen films and gone 'what the hell is that?'

I came up with more money, took all the footage, got a great editor and made this film [Dream of Life]. But I really didn't go into it with the intention of making a movie.

Theres plenty of great independent films to do, but you cant support yourself making independent film as an actress.

I don't make films to say, 'See what a great director I am!' I don't go and please a particular actor. I feel it's more important that your film works.

The film that really struck me was Ridley Scott's Blade Runner. That was a film I watched many, many times and found endlessly fascinating in it's density. I think the density of that film is primarily visual density, atmospheric, sound density, moreso than narrative density.

I want to work with Sriram Raghavan, Imtiaz Ali, Karan Johar, and, of course, any other director who is offering a great role to play in a film.

I enjoy every role that I do. But I would love to do a dance-based film. It can even be the biopic of a great Indian classical dancer. I want to push boundaries.

I do great with Tea Party, I do great with conservatives I do great with moderates, I do great with evangelicals, I do great with everybody.

You live for those really great scenes where you almost feel that the film has gone beyond what was printed on the script pages and been raised to another level.

Film is one small voice in a great cacophony of noise from newspapers, from the television, from social media, so it can have a little dent, you know? It can help to create a climate of opinion.

I look at the story and see what I have got to do in the film. Sometimes the story is great, set-up is good but there isn't much for you to do. I don't want to do that.

Find other women to make movies with that have a shared bottom line. I did that with my first film and found an incredible partner in the inimitable writer/producer Laura Goode. I did it this time around by pairing with the forces of nature that are Amy Fox, Alysia Reiner and Sarah Megan Thomas. All of these women share an activist's desire to be the change they want to see - and with that passion comes great purpose and great possibility.

Whenever there's a camera around, a video or film camera, it's a great deal harder for those in power to bury the story.

I love film. After a yummy meal for the whole family and some truly great friends, we often go out to see something beautiful and unique.

I've been in constant awe of the people I've been blessed to work with and, obviously, who have had great success in the film industry.

The core plot of 'Mercury' is so gripping that when I thought of making it as a silent film, it only made it more interesting. Once I finished writing the first draft, making a silent film that's both thrilling and engaging seemed possible. When the film team read the final script, they felt the same.

The film business was a great lesson in business combat and what it takes to survive.

I'm not looking for a challenge, necessarily. I'm looking to make a really great film.

I have never had the problem of finding a producer for my films. I think I am just lucky because my first film didn't do great box office business.

It is captivating, isn't it? England has such a great scene of electronic music, and I think that was very prominent in Pusher, and the nightlife was the beat of the film. I feel what is really great about Pusher is that it wasn't about drugs and guns and strippers. That was just all circumstantial. I felt like it was really about people and how decisions and circumstances can change relationships. Something just happens. Everything changes for a reason.

It was great to work in Ireland because it's such a beautiful country, but it's not particularly easy to film in because the weather changes all the time.

A few of my books, over the years, have been optioned for film. The subject matter of my books, however, is not exactly conducive to Hollywood film treatment. If and when a 'big-budget' film is ever made based on one of my books, my fans and I will more than likely loathe it because it won't be true to its source. That's almost a given.

I'm interested in pressure, I'm interested in duress. All the great works of art, or film or literature, in my opinion, have elements of those in them.

Film is a much lonelier process than theatre. You really don't have any rehearsal time in film. You don't shape it together... with theatre, there is a complete kind of family atmosphere. The sociable side of this business is the theatrical side, it really isn't the film side.

'Newhart' ran the longest, and it was great to have a regular role, but I run into a lot of film fans, and they ask me about 'Blade Runner.' I was grateful to be a part of that.

David Mamet was great to work with. He was everything that I thought he would be as a director. He's incredibly articulate, an easy collaborator. Extraordinarily knowledgeable about film and writing.

The great thing about making a film on a submarine is that it's kind of like making a play. You've got this limited environment.

I love to see great dialogue in the cinema but I hate to see 'Film TV.'

Some people do stage and film. Some people are film actors, and some people are stage actors. I'm quite sure that any of the actors who did the original production of 'August' could have done the film of 'August.' I don't think any of them were particularly surprised when they didn't wind up doing the film.

It wasn't because of Striker's bad performance that I didn't sign any film in Bollywood. There wasn't much to do in Bollywood, and the offers weren't great too.

Every film that you make has to have a scene that is the heart that blood flows through in every other scene. That scene doesn't always have to be in the beginning of the film. But it can also be at the end, or in the middle, and that can sometimes make the film more effective.

I watch 'Goodfellas,' and suddenly it frees me up entirely; it reminds me of what great film directing is all about.