Top 1200 Great Film Quotes & Sayings - Page 20

I went to the University of Toronto to study the history and theory of film, in the back of my mind thinking I'd go to NYU film school and see if I could make a career of it.

Movies always fascinated me. They are an endless source of inspiration. There are countless images by great directors that made a profound impression on me, and I see film as a sublime example of teamwork.

Great groups deliver great results. And for everyone involved in a great group, great work is its own reward.

Film is cool because it's an hour and a half to two hours. It's a great ride. It's typically three acts - beginning, middle and end. It's going on an adventure and by the end it's all cleaned up.

A documentary film is a great way of helping people understand because, somehow, when one is able to see the people involved, it lends a certain immediacy and understanding that is hard to get on the page.

A film you can explain in words is not a real film.

Small events and some songs and dance do not make a film. A film needs to have a proper structure and there has to be an output which would be relevant to people who watch it.

Great beauty, great strength, and great riches are really and truly of no great use; a right heart exceeds all

I worked with Jim James on my film 'I'm Not There' - he sang 'Goin' to Acapulco' with Calexico backing him up. We just hit it off, and it's such a beautiful moment in that film.

One thing that the audience, and perhaps critics, aren't aware of is that, especially in a film like 'Moonlight,' you always shoot a lot more footage than makes the cut of the film.

It's always fun to get to do independent film because I believe that that's the life blood of film. It's about writers and directors who truly have their own vision, and that's hard.

I applied [to film school] figuring, "I need to find some structure for myself. I need to find a way to figure out what kind of filmmaker I want to be." And that is what film school provides you with. It'll teach you the basics of how a production works and the technical side of how to put everything together, but you could also learn that by working on film sets.

I think it's like the '60s - we're going to see another revolution in film where these new filmmakers stand up and take ownership of what film is and mould it into what they want.

With 'Aurangzeb,' I just knew that the film wasn't going to work, though I think it was one of my most underrated performances. I did the film too early in my career, but I stand by it.

Apart from the highs and lows of when your film releases, there's a strange, addictive quality that making a film has because of all that drama. There's so much that goes on, and we miss it when it's over.

I think I've done more recording in the past 10 years than most people, but it's all been directed toward film composing and soundtracks. Just the same, it's been great.

When I walk onto a film set, I become frightened and nervous. There's all this equipment, all these people, and most of them do things you don't know how to do. I didn't come from a film background.

While fashion is exciting because it changes all the time, it is also fleeting. Film, though, is forever. In a way therefore, film is the ultimate design project.

I have never been someone who chooses a film according to the language. Since I am comfortable with Tamil, Kannada and Malayalam, the scope of the film is all that matters to me.

No head coach does it by himself. I don't care who the coach is or how great he might be. Mike Krzyzewski is is a great friend of mine and he's a great coach but he has great, great assistant coaches and they bring a lot to the table and that's what it takes.

Television is very different than working on film. With films, you get to develop a set of characters, and then, at the end of the film, you have to throw them away.

I get to play a great character while working with great actors and great directors on a great show.

After I read the story of 'Dangal' and before the film released, I called director Nitish Tiwari asking him if he had any good script. He told me to wait for some time. So we had three-four sittings, and this film, 'Chhichhore,' came to him. The film did not have superstars, but I felt that this is the script that needs to be told.

Over time it just got more and more intense as far as the trust factor. For example, when we started editing the film [Dream of Life], I thought, man, I need to make sense of all the footage I have; I need to ground the film. And one day I was hanging out in Patti's [Smith] bedroom, which is where Patti works, and in the corner of her bedroom is this great chair, and that's when she began showing her personal things to me. The camera was there, and we realized that we were really making the movie and making sense of the footage in the movie.

SXSW can feel very male, very straight, and very white, and though it's a great festival, when you have a film that's different, it's hard to find your place.

I approach every film as my first film.

You give your film away to the audience once it's done. I never look at my films after the premier. The film needs to start its own history.

I really subscribe to that old adage that you should never let the audience get ahead of you for a second. So if the film's abrasive and wrongfoots people then, y'know, that's great. But I hope it involves an audience.

In this land of unlimited opportunity, a place where, to paraphrase Woody Allen, any man or woman can realize greatness as a patient or as a doctor, we have only one commercial American filmmaker who consistently speaks with his own voice. That is Woody Allen, gag writer, musician, humorist, philosopher, playwright, stand-up comic, film star, film writer and film director.

What I love about film is that everybody often connects to something so different, and things you couldn't anticipate when you were making the film, so you just make it as honest as possible.

A product can turn bad, not the production. When you start a film, you feel it will be great. But sometimes, as it progresses, it fails somewhere. You can't blame anyone for that. You can blame only your own intelligence!

I've just done a film in the United States. It's a thriller called 'A Crime', with Harvey Keitel, we play against each other, and it's so great to play in another language. But I'm definitely not American.

But I don't think as film-makers it is our responsibility that every time we make a film we should be saying something. If you are entertaining people, that's more than enough.

Eyes are the greatest tool in film. Mr. Capra taught me that. Sure it's nice to say very good dialogue, if you can get it. But great movie acting - watch the eyes!

I think the kick to doing comedy is just to get in a film with really funny people and let them do their jobs. I find that in most comedies, I'm not the funny one, which works out great.

'Biutiful' is a tough film. It doesn't make concessions to the vulgarity of light entertainment. It's not the kind of film that you see every day in the Cineplex. But as an artist, it's the thing that I needed to do.

'Gaana Bajana' gave me an opportunity to experiment with my looks. I played a tomboy in that film, a role that I hadn't essayed before. I have no regrets for having done the film.

On an average, any short film will cost at least Rs. 60,000. Apart from film festivals, where is the avenue to get that money back?

I think for my casting of 'Pati Patni Aur Woh' the makers saw my ad film which I did for a brand and they decided to cast me in the film.

Dolly Ki Doli' excited me because it has unique characters. Though it is a smaller film and without a big star, it is still a mainstream film.

I would like to say to as many people as possible that please go and see the film 'Jaana,' because we all have worked hard to make it a good film.

For sure working with Ferrari is a great pleasure. It's a great team, it's a great experience and it's a great dream as well to be there.

So I prefer to do the entire music for a film. And when I'm doing the background score, I can weave the whole film together in terms of themes and songs for a good cinematic feel.

The audience is making the film and not the film-maker.

I think the British industry is set up to support British film, if we make films that enable them to support it. If you don't make a commercial film, distributors can't get behind it. If they don't get behind it, the film doesn't do well.

Most young people make films to be accepted, to be discovered, when in fact that was the last idea with the group I went to film school with. To be discovered was not our intention. Our intention was to tell our story our way, and make our own mistakes and learn from film to film.

'Saw' has been a unique experience in that I've had the opportunity to work with some really great artists, and everyone has contributed in so many different ways, in all of the different departments of a film crew.

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.

I did a short film called 'Disco' and won an award for Best Supporting Actor at an indie film festival, and that was nice. Hopefully there's lots more to come.

When a film is reviled, you open a film and people say "Oh, it's the stupidest thing, it's the worst movie." You think: oh, nobody's going to ever speak to you again. But, it doesn't happen. Nobody cares. You know, they read it and they say "Oh, they hated your film." You care, at the time. But they don't. Nobody else cares.

Apart from my film, I am producing TV serials and plan to make more films, too. Mine is not going to be one-film-a-year production company as such.

I have had several offers to make the book into a film. I don't know if the message could be accurately transmitted, and so I have been somewhat hesitant in granting film rights.

Sometime ago, I went for a film festival in San Francisco and that's where I met film director Warren Foster and actors Robert Parham and Randy Taylor, by chance.

The atmosphere and the environment that you get on a Chris Nolan film that he and Emma [Tomson] create is one where you feel very safe and very confident and able to experiment with characters. It's a great place to be as an actor.

I'm very attracted to directors who want to experiment. The thing that attracts me the most are people who are trying find a language that is correct for their film, for that specific film.

I went to film school when I was 17, and of course when you are very young you think that there is nothing else in the world except film. At some point I started getting hungry to see something else. For five years I didn't make any films, I was traveling around the world, writing for newspapers, working in theater, working in opera, I thought I would never return to film.

To make a film is easy; to make a good film is war. To make a very good film is a miracle.

We shot 'Party Girl' on film, and I remember being told, 'We need to get this in two takes because we don't have a lot of film in the mag right now!'

I'd be fine if there weren't film festivals, and you just made your films and didn't have to do anything from that point on. That would be really great, wouldn't it? I don't know. I'm in kind of an aloof time, where I'm not taking anything too seriously.

Harvey Weinstein bought our film, and he's an animal. He's got us out there campaigning and everything because honestly it's a silent black-and-white film.