Top 1200 Great Film Quotes & Sayings - Page 8

Mr. Disney and his staff were constantly scouting for great stories to bring to life on film

I'd never contemplated being in TV and film. But I love working with athletes and talent and shaping great stories.

This January, Kevin Costner will be honored by the Palm Springs International Film Festival for his contribution to film. This gives Costner just two months to make a contribution to film.

There are some great women's roles in television... so much more interesting than what I was reading in film scripts.

Let me put it this way: if I am the leading man of the film, and the film-maker is asking me to support him in a certain aspect so as not to burden the budget of the film, I will do whatever I can to support his vision.

I always wanted to go into film. I love film. I loved growing up in the theatre, but I always wanted to do film all along. But, I still pursue music separately.

Through all permutations and youthful poetry, I came to believe that the film actor was the great "literateur" of his time.

I just remember when I came out of film school - and I loved film school - that the industry was such a mystery. How to break in, and once you are in, how to make a film; that is such a large undertaking. There are thousands of pitfalls.

My pay packet is reasonable. But I prefer doing films where I have a meaty role. The set-up of the film and the filmmaker also matter to me. For me those are vital issues that help me decide on a film. You never sign a film only for money.

The fact is that you could not be, and still cannot be, a 25-year-old homosexual trying to make it in the British film business or the American film business or even the Italian film business. It just doesn't work and you're going to hit a brick wall at some point.

For example, how you would introduce a leading character into your film, and as an absolute ingenious example, [Elia] Kazan in his film Viva Zapata!, how he introduces his leading character Marlon Brando into the film. No film ever did it as wonderful as he did it.

The silent film has a lot of meanings. The first part of the film is comic. It represents the burlesque feel of those silent films. But I think that the second part of the film is full of tenderness and emotion.

I still to this day maintain that in that million-and-a-half feet of film [Heaven's Gate] that we shot, we thought we were making a great American film. I honestly believe that Michael [Cimino] was under a tremendous amount of pressure, and Michael's response to pressure from what I saw was to double down and to get more aggressive and to get more kind of arrogant, but I don't think it was real. I think it was the response to pressure.

If you make a great film full of emotion, of pathos, people want to continue to know more, to work harder.

One of the earliest memories I have of feeling the power of film music was watching Willy Wonka & the Chocolate Factory. That was a really clear epiphany for me, when I realized that each film has its own music, and that there was someone out there who wrote this very specific music for just this one film.

Make film, shoot film, run film. Do something. Make film. Shoot anything.

I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.

It would be great to make a movie that had the style of a great '30s film or a movie of David's Lynch or some other director I love that could also make money, because that would say to the corporation, "Yes, you can make money and still do art." But it's tricky.

I think my background in film taught me that a great book adaptation is not always slavishly faithful to the source material.

'Race' is one of the most successful film franchises in Bollywood. So I was really excited and honoured on being approached for the film. But since I was already committed to another film during the same time as the makers are planning to shoot 'Race 3,' things eventually didn't work out, unfortunately.

L.A. has great business opportunities for my film and TV production company and acting career, but it can be a very lonely place.

One sign of a great actor is when he can be alone by himself on the screen, doing almost nothing, and producing one of a film's defining moments.

There are things that you could do with film that you could never do with HD. There's a warmth and an organic quality - almost a handmade quality - that goes into film. Film will always have a bit more of a humanistic feeling to it.

Your first film is always your best film, in a way. There's something about your first film that you never ever get back to, but you should always try. It's that slight sense of not knowing what you're doing, because the technical skills you learn - especially if you have a film that works, that has some kind of success - are beguiling. The temptation is to use them again, and they're not necessarily good storytelling techniques.

The film is a direct mirror of the director. If your director doesn't know how to dress, there will be an aesthetic of the film that won't come through - whether it's in the costumes if he doesn't know exactly what he wants or the look of the film.

Abhishek Chaubey has been in my bucket list for a long time. When he approached me, I thought it's for a film he is producing, but I never expected my fourth film to be an Abhishek Chaubey film.

Mr. Disney and his staff were constantly scouting for great stories to bring to life on film.

Our film [Hide and seek ]was created as part of the Asian American Film Lab's 11th 72 Hour Film Shootout filmmaking competition, where filmmaking teams have just 72 hours to conceive, write, shoot, edit and submit a film based on a common theme. The winners were announced during the 38th Asian American International Film Festival in New York last July. The theme for 2015 was 'Two Faces' and was part of a larger more general theme of 'Beauty'.

It's great to have a job and then go to another one, and have another one to go to after that. It doesn't always happen; you might be waiting a few months. But I've had some interesting roles, and worked with some great people. And it has been a really interesting mix between theatre television and film.

'The Dark Knight' does such a great job of delivering an intense, action-packed film that didn't pull any punches.

I make a film - and once I've made it, everyone comes along and says 'Ah! This is a film that's political, or social', or whatever. But I'm not telling the story that they see. I made a film, told a story, but I wasn't thinking about exactly what it all meant.

All great scripts need not reach silver screen, and every good story can't be narrated in a 2-hour film.

I don't really get stuck in a time warp where, if my film is a success, I have to keep partying till the next one releases, or if my film is a flop, I keep wallowing in sorrow until the next comes my way. My hard work in each film is always there.

Watching great performances can transport us, and finding a film that really moves you is a galvanising and inspiring thing.

One of the great things about film is that, typically anything that's introduced in the first five minutes, the audiences will by into.

Television in the last few years has been where all the great writers are going. TV now is what indie film used to be.

'The Stepfather' was the first time I sort of carried a film, or led in a film, and doing it was fun, and I felt very special. Afterwards, though, I was terrified. I just thought, 'Wow, this is basically going to be about me. If this film is a success or a failure, a lot of it's on me!'

A certain kind of film is a big theatrical film and a certain kind of film isn't. It doesn't bother me so much that you can pick your format.

If you get a chance to be in a film, that's great. One of my goals is to make a record as good as Don Henley's album, Building the Perfect Beast.

'Podaa Podi' is a film that sees Simbu and Varalakshmi in three phases of life. Thus this film of course takes more time to wrap than usual flicks. The film is entirely being shot in London and we require to shoot it only during a particular season as the script demands it.

My chemistry with Salman goes long back, and we have a great equation. Doing a film with him is no less than a dream.

I take a few pictures a week, but the best part is waiting for my film to be developed. The suspense is exciting, and the reward is great.

Ek Tha Tiger' was a great script, director and leading superstar of the film industry Salman Khan is part of it.

I'm not coming from film school. I learned cinema in the cinema watching films, so you always have a curiosity. I say, 'Well, what if I make a film in this genre? What if I make this film like this?'

I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.

It's easier to go from theatre to film than the other way round. In film you're absolutely loved and cossetted and cared for. In film your director makes your performance. In theatre you're carrying it all.

The collective experience of watching a great film together in a room is a transcendent moment that will never die.

Film is subjective, and we must be careful with that. The kinds of films I love are those that observe, and I give possibility for people to talk. No need for me to tell people what to think - even when I make a film like 'S-21.' It's only one point of view. It's still a film; it's not a tribunal.

I share a great rapport with Siddharth Jadhav. We have worked together in a Tamil film and have been friends since then.

If I wasn't a trader, I would probably be in the film business in some capacity and writing in some other form. I went to NYU Film School and London Film School.

I'd like to keep doing film and TV, and I definitely can appreciate a good theme song. If it's memorable, that's a great thing.

As I had visualized, 'Heroine' is shaping up to be a very contemporary film with a different premise and strata. This film, like most of my other films, is a blend of facts and fiction. The film has a larger span, more characters, and costumes... a journey that revolves around an actress's life and the showbiz.

I think it's great to see that there is such a connection to film music and the way people react or connect to a character or scene.

I love being around great actors and film-makers, and I try to hide the fact that I'm in awe of them.

I put a lot of work in. I watch film. I study. People may knock it, but I think it's what makes me great.

I meet all these American filmmakers that film for months and months, and it's a mystery to me. I couldn't make a film like that. I have to be very clear in what I'm doing and where it's going, and be very disciplined about what I film.

I did not want 'Battleship' to be perceived as an American war film. I wanted to do everything I could to make the film accessible to a global audience. It felt like bringing an alien component to the film would help take the American jingoism out of it.

The film world is always looking for great source material, and Broadway has traditionally and historically been a place to go.

TV people are great folks, but if I said, 'Come and film a beetroot-jar-opening competition,' they would.

Charles Laughton, who's a great hero of mine, only ever made one film and it happens to be one of the great films ever, which is 'The Night of the Hunter.' It's full of his kind of imagination and creation and how you do things and just in the way he used the studio, I just thought it was a fantastical way of using the studio.