Top 1200 Great Film Quotes & Sayings - Page 16

Even when a film is finished, when I direct a film, sometimes it's a dark profession, but it requires a peculiar form of courage that I admire.

I turned down a film that was offered to me in the very early '80s, a Scorsese film. That probably wasn't a good career move.

I did a few documentaries as co-director and cameraman. I started off shooting a film about the war in Rhodesia. Then I did a film about an 'around the world' yacht race with a friend, and we spent nine months on a yacht. The film was about how people get on in confined spaces under extreme stress.

Every time you make a film, you want to do it in a genre that is different from your previous film, so that there is something fresh about it.

I got a chance to act in a film, 'Derailed.' I was having a recurring nightmare, and after doing that film, the nightmares stopped.

'Soorma' was made on a budget of 22 core and we don't expect it to do a 100 crore business, but it has definitely earned respectable numbers. It's a more performance heavy film with a great story and content.

I have always thought if you are going to make a film, it's much better to have an original script that will play to film's strengths.

Both films and TV have their compunctions, their positives and negatives. For example, I explored a character at great length in 'Maryada'... which can be the ultimate high for an actor, but I won't get this luxury as a film person.

To be honest, I hadn't realised the greatness of film music till I was exposed to film songs after I started living in Mumbai.

I made a French film called "Merry Christmas" which is a very European film. It's a World War I piece.

Our feature film, 'Crouching Tiger, Hidden Dragon Two,' has a built-in fan base from the original film.

This will be the fourth time I've seen this film. I'm very proud of it and I think it's a great movie for women of any age. And almost every single man I've talked to has admitted to crying.

After finishing my study in Film and Television Institute of India (FTII), I was mentally prepared for the struggle in the film industry.

Focus should be on the art of film, not on the business of film.

When you make a documentary film, after many years the only thing you remember is what you put into the film, not what you took out.

When you do a film, all you want is to make the best film possible. You don't think about Oscars. But it's really flattering. Please, bring it on!

I made a French film called 'Merry Christmas' which is a very European film. It's a World War I piece.

If I bring anything to the Coen Brothers' films, it's my ability to change tack and create a different mood from film to film.

If African film makers had one-tenth the amount commanded by film makers the world over - even the amount used by so-called shoestring film makers - I think we would see quite an explosion of African films on the world scene.

With the birth of social media, a film gets left behind if the actors don't go and present their film and energy to the public.

The prime motivation in making almost any film is success, because film is the art form of the 20th century.

It'll be the Internet and piracy that will kill film. There's a philosophy that the Internet should be free, but the reality is that piracy will destroy the film industry and film as an art form because it's expensive to make a movie. Maybe you'll have funky little independent movies, and it'll go back and then start up again some other way.

When I was little it was a great time for film-making, with stuff like Mike Nichols' 'Silkwood.' The films you see in that pre-secondary-school stage stay with you in a very particular way.

I think it's kind of great, to be honest. I'll never do another film [like Swiss Army Man] where I get to talk about those things, so I might as well enjoy it while I can.

I loved 'Life is Beautiful' and action films are great, like 'Die Hard.' My favourite is the mob film - 'Goodfellas,' 'The Godfather,' 'Once Upon a Time In America,' anything with Robert De Niro in it.

Making a film is very gratifying and intoxicating. It does great things to your self-esteem, but pushing people and mentoring them to their full potential is far more fulfilling.

You don't set out making a film that will rake in 100 crores; you just want to make a good film.

For me it sounds weird saying that the filmmakers respect the film. I don't imagine that there's other ways to make a film, but unfortunately there is.

I'm a film maker, not a crusader. I know a film will not change the world. If it can make a difference to a few that's good enough.

When Laura Poitras asked me if she could film our encounters, I was extremely reluctant. I’m grateful that I allowed her to persuade me. The result is a brave and brilliant film that deserves the honor and recognition it has received. My hope is that this award will encourage more people to see the film and be inspired by its message that ordinary citizens, working together, can change the world.

My brother knows more about film sets than I do, because he works at New York Film Academy.

I think your behavior is different when you work on digital or film. It seems that... I feel most focused if I'm working on film.

I would never be in a film just for the sake of being in a film, so I am waiting for the right role to come along.

When I did my first film, I didn't have formal training; I didn't work under any director. I really didn't know how to make a film.

I'm not really premeditative in any way at all. I come up with an idea, hopefully for a film, and then I'm lucky enough to do the film.

I bristle a little when the argument for film gets put into the nostalgia ghetto. Film is still the highest quality and best-looking image capture medium available. I don't think it always will be. The digital image will get better, and it will eventually surpass the quality of the film image, but it isn't there yet.

I was delighted with the film [Payback: Debt and the Shadow Side of Wealth]; it almost made me want to be a film-maker!

Success of a film is not only based on the film being good or bad. A lot of other factors are involved as well.

I've never been to film school. I had to leave this country to make a film. All they would let me do in Hollywood was be a messenger.

I was never serious about Bollywood films, but when I was offered a film like 'Shanghai,' I took it because it is a good film.

The crime film is the most honest American film.

I did photography in summer camp; I did it in high school. The only hard decision I've had to make was whether to go towards photo or film. And I ultimately realized that the type of photo I was interested in was actually photojournalism. And it's a very individualist career, whereas film is a very team-driven medium. So that's why I chose film.

I never control a film. The film controls me.

There's something mystical and wonderful about being in the room with the actual live performer s on stage that works. In film, it doesn't work so you're dependent on a great director to keep the thing moving along.

Within the microcosm of a film you get drawn to people. There are certain projects you care enormously about, and 'The Edge Of Love' was one because I was portraying a great hero of mine, Dylan Thomas.

Just making a movie the way 'All is Lost' had to be made was a great experience, because it was structured differently than any other film I will make for the rest of my life.

I saw 'Birth' at the Sundance Film Festival with a thousand other strangers, and I couldn't believe that was me in the film. I didn't recognize myself.

The basic idea of making this film was that even if one person is touched by the thought in the film, then my job as a storyteller is done.

I have seen this whole process of films releasing, becoming hits or flops, for too long now to expect things to do well. If I expect a film to do well, then it is for somebody else's sake, not for my own. I do my work, and if you feel that my work is improving from film to film, then I have done my part of the job.

In Iranian cinema, all the lying takes place before making the film. In order to be able to make the film, you have to lie.

The film room teaches you how to do the job, how to study the game, how to teach the game from film. How to create an advantage for your team by knowing your opponent, and all their plays and tendencies. And there's no better guy in the world that I've been around than Jim O'Brien at breaking down film.

Those who saw Kite Runner loved the film, for the most part, people seemed to really like the film.

I'm always searching for a signature sound and melody that resonates with the film and audience and becomes integral to the film, game, or show.

For film fans to support 'The Imitation Game' means so much to me, the entire cast and film-making team.

The rules are: The only ego is the film, and you have to serve the film.

Ultimately, you just have to do what feels right for the film. It really helps when you have great collaborators like my editor, Eduardo Serrano, who kept telling me various scenes should be longer.

'Neerja' is such a solid film. Everything about the film has substance, be it sound, writing, story, background scores, or direction.

I try to make each film a different film.

What challenges me is this - I want to walk out of a film with the experience of having done a film, not with a feeling that I have sleepwalked through it.

It's hard to see a film one time and really "get it," and write fully and intelligently about it. That's a review. That's not film criticism.