Top 1200 Great Film Quotes & Sayings - Page 2

I can't wake up every day and not thank Sundance. They're a great beacon of light for any independent film. Just to have a film that you made shown on a screen for an audience in a theater is beyond me, so I owe them everything in the world.

I just want to make great films and be good in them. And I think that my perception of what's great in a film is constantly evolving.

I keep rediscovering myself with every film. It is great to be doing that, it gives great satisfaction.

I don't have many actors in my family, but I do have a Great Uncle that is a film-maker in Philadelphia, and my great-great-grandparents were Flamenco dancers in the 30's in New York, they were Spanish dancers.

Some things definitely work better on film than in books. Introspection is great in books but it doesn't work on film. Anything with high intensity, whether it's a love scene, a car chase, a fight scene - those things work so well on film and oftentimes they can tell a much broader part of the story.

You can be moved by an animated film and not by a live action film. There could be great inspiration in and humanity in that animated story.

I'm not trying to be self-serving, but you know, you get to Hollywood, and if you want to make something big and loud and dumb, it's pretty easy. It's very hard to go down there and make a film like 'Sideways,' which I thought was a great film. They don't want to make films like that anymore, even though that film was very successful.

You can have a bunch of great actors in a film, but if you don't have anyone telling a great story, it's a moot point.

The problem with the British film industry is that it's really the American film industry, or a small branch of in lots of ways because of the common language. But it's great to see some individual voices still there. I think I probably gravitate towards a slightly more European, auteur model rather than the studio thing. I think it would be great if British films were a little bit more auteur driven.

My home in Hollywood is not a home. I do a film here, a film there, as they want it. I don't have a relationship. Like, Warner Bros. has a great relationship with Clint Eastwood and takes care of him.

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.

It would be great to make a movie that had the style of a great '30's film.

Yes, TV is the dominant medium in Pakistan, but it was a conscious decision to have an Indian film as my first release. Being launched in an Indian film with a great script, character, and music is half the battle won. The rest is destiny.

I love writing, and I love postproduction. That's great, because you start to reassemble the film, and you sit there, and you start to really put the film together, finally. The shooting of it is the most stressful part of the process.

There was a time when I desperately wanted to be part of a Yash Chopra film, not because he was a great director, but because I was an outsider and I wanted that validation of being accepted in the film industry.

In a great play or a great film, there's a rehearsal period and they find this character. On TV, everything moves fast.

There's a great deal of mystery in film editing, and that's because you're not supposed to see a lot of it. You're supposed to feel that a film has pace and rhythm and drama, but you're not necessarily supposed to be worried about how that was accomplished.

I think tax breaks for diversity is a good thing. In film now, what happens is you get huge tax breaks if you can prove via your hiring practices and via casting, that the film is British, you get a tax break. Wouldn't it be great if you got a tax break because the film was properly diverse?

I like Taika Waititi a lot. I thought 'Boy' was a really wonderful film, had great resonance. Very sad but also very funny. I thought 'What We Do in the Shadows,' the vampire film, was fantastic.

If it's a great role or a great film, then you're happy to be a part of it.

I have a vision of artists putting into film, drama, literature, music, and paintings great themes and great characters from the Book of Mormon.

I have a limitless amount of great music at my disposal and it's very, very pleasurable because when the music goes on the film it's amazing how much it livens up the film and gives it an emotional kick in the pants, sort of.

You can do a short film in three to four days, and then you can show it. Look at the careers you seen go either through Tropfest or outside of Tropfest. You can make a short film in a couple of days, and if it's great, it can go in the Internet or go to a film festival like this one or another.

The ethos of most films is that you make a film, you exploit the community, you exploit the environment, and it's OK because you made a great film, you know?

I don't use film in the way that the great auteurs do. I use film, the camera, to record as effectively and as perceptive as I am able what I want to say through the actors.

I'd like to think at some point instead of it being a woman's film or a man's film, it is just a great story, and both sexes can go and get the same enjoyment out of it.

I've always had an interest in story-telling and history and just film and art in general, but particularly when it comes to storytelling, I think the reason why we became involved in film is because we wanted to get some great stories out there.

The film industry sees the writer as fungible: The thinking goes, As long as we have Brad Pitt and all this money, we have a great film! No, you need a writer with voice and an engaging story, or what you have is a bomb.

Having anything to do with a hit film is great. Even if you're a third assistant to the director or second to the editor, if the film does well, every technician, every actor benefits from it.

I have no issues if audiences don't like a film or a performance, and the film doesn't do well. My problem is when they say that the film was good and performances were excellent, but the film didn't run. I have a problem when that happens.

I've had a great run with great projects. I love the film industry. It keeps you young; it really does.

I am against great themes and great subjects... You can't film an idea. The camera is an instrument for recording physical impact.

To make a great movie is such a combination of different things that need to come into play to actually make a memorable film and not have a film to fall by the wayside, to have something live on during the years, and one of those elements is the commitment the actors have to their performance.

[Before I Go To Sleep] script was a great journey with all the twists and turns that were kind of unexpected. I had to finish the script, and I thought if we can emulate this in the film, it's going to be a really good film.

I never had a great role in a great film.

As for Tenacious D, of course it could work as a full length movie; all it requires is a great writer and great director with an ability to think outside of conventional film comedy.

My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.

What about good small roles for women? I've told my agent, if there are two great scenes in a film, I don't care, if it's something with that great edge to it.

Does film music really matter to the average moviegoer? A great score, after all, can't save a bad film, and a bad score - so it's said - can't sink a good one.

Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.

Well, the medium of film is so different than a book that just by bringing it into visual storytelling is to change it up. I think in a book, in any book, you can have a reactive character. Some of the great novels of all time have had that, but in a film you can't do that.

I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.

If there's a great story and great characters, then I can love a film in any genre, though crime thrillers and sci-fi have a particular soft spot in my heart.

'Sairat' is a film I absolutely loved. I have great regard for the movie and its film-maker. The movie blew my mind.

I used to be a die-hard defender of physical film, which I still am. I love shooting on physical film and I think it's great.

It's a great privilege just to be in a film not because you're some packaging that some agent has done with the studio exec: "We need a John Travolta film."

Still, the film nearly didn't happen a number of times. There were great arguments with United Artists about how to reduce the cost because they were nothing if not conscious of the price of the film.

If Richard Wagner lived today, he would probably work with film instead of music. He already knew back then that the 'Great Art Form' would include a sort of fourth dimension; it was really film he was talking about.

Bollywood is not a stepping stone to the West. I am extremely picky and in no hurry to sign a Hollywood film. I am only greedy for great roles; language and country is no barrier. And yes, I'll always be a Hindi film star first.

I want to carry a really great role in a great film.

It's not a big deal to send a film to the festivals, but yes, winning an award is huge. When you send a film at festivals, people talk about you and your work, and one gets great exposure.

I usually befriend the camera department very early on in the film and drive them nuts. I'm constantly bombarding them with questions and going through the stills photography. A film set is a great place for me and I love it.

I don't know if there's ever been a female-driven film or a male-driven film. I don't believe in that. I believe a film is a film - a movie can only work if everything about the film works.

As an actress, I never went to film school, and I think if I had gone to film school, I would have started with a great advantage. If you have a strong intent to do anything in life, you can do it, but it always helps to have formal training.

Perhaps I shall not write my account of the Paleolithic at all, but make a film of it. A silent film at that, in which I shall show you first the great slumbering rocks of the Cambrian period, and move from those to the mountains of Wales...from Ordovician to Devonian, on the lush glowing Cotswolds, on to the white cliffs of Dover... An impressionistic, dreaming film, in which the folded rocks arise and flower and grow and become Salisbury Cathedral and York Minster.

Tisch has a great film program and a great acting program, but they are segregated; you don't really intertwine. My peers knew I liked acting, so they'd be like, 'Go get that guy Gubler. He'll be in your student film.' I was in the same building. I became their go-to guy. So I left NYU having been in probably one thousand short films.

Film is just a great medium to express yourself and a great environment to work around.

I don't read the reviews because it somewhere affects my work. If some critic doesn't like a movie, I can't keep his criticisms in mind the next time I am making a film. Even if someone writes a great review about my film, I don't want to be affected by it.

When I was shooting the film I did not see the story as an everyday tale or a social one. To a great extent, the film is a mythological look on human life. This is probably what I would like the audience to keep in mind before they enter the screening room.

You can have an amazing director and terrible script, and the film's not going to be great. But if you have the most incredible script and an okay director, you could still get a really good film.