Top 1200 Great Film Quotes & Sayings - Page 9

I have a great little camera, and I had a theory that if the story is interesting, it doesn't matter what medium you shoot it on. You just have to make a good film.

My quest to find a great role for myself started long before this film [ "Our Brand Is Crisis"]came around.

In America, instead of making the audience come to the film, the idea seems to be for you to go to the audience. They come up with the demographics for the film and then the film is made and sold strictly to that audience.

Because of the wealth of fine music spread through the film, working on it held all the fun and excitement of attending a great concert

It's got to be a challenge but at the same time you have to feel as though you can play them - it's really dangerous to want to be a part of something just because you think it's going to be great. I've been sent plenty of scripts where I've known that it's going to be a great film and a successful one, but I just couldn't convince myself that I was the right person for the part. So, I think you have to be careful with that.

I always wanted to work on films, and when I was starting in television in this country, in Great Britain, there really wasn't any film to be made.

You don't need a high concept to make a great film, of course. 'Withnail & I' is not - it's probably not much on paper, but it's one of the funniest films ever made.

I shoot very little film. If you just do coverage you're shooting any number of potential films instead of just one, and I was shooting just one specific film. Film is cheap but time is expensive.

I'm friends with many actors across the southern film industry, who've been my co-stars, too, and with whom I share a great rapport.

I always condition my ends, and I love Mane and Tail. It's so amazing. It leaves a film of moisture and just gives great texture.

I thought that if no one was going to give me a great part - and it was very difficult to break into film, obviously - then I'd write one myself.

At the end of the process we called a market research company to find out whom the film was for or what was the target audience. We didn't have a lot of money to release the film, so in order for it to play in cinemas, which are dominated by films with much larger marketing budgets, we had to discover whom the film was for.

It feels great pleasure and honour to be associated with a film like 'Gold.' I have always believed in meaningful cinema, and this movie was one such opportunity.

Would movie moguls release a film portraying Adolph Hitler as a great benefactor of the Jews? Hardly. Would they release a movie if the black community found it to be highly disparaging? No way. You better believe these executives would also think long and hard before they released a movie offensive to American Indians, Muslims homosexuals or virtually any affinity group. Yet, to most movie industries a film which offends millions of Christians is fine and dandy.

I've actually done more [music for] films than television. I love the process of writing for a film. I love that you are creating this suite of music for a film, that's all tied together sonically and thematically and hopefully people associate with the film. They all are meaningful to me in different ways.

It's a little hard to avoid putting both war and politics in, in that they both come into the activity, but on their own. My basic idea is to do a great love film set in the hell of 1942. At that moment, hell was Leningrad. Underneath all this, of course, is a film about dissension between the two most important countries in the world, the United States and the Soviet Union. I think it is a must at this point to talk about cooperation instead of the rancor and hatred and competition between nations.

It was great to be able to play a hero in 'The Magnificent Seven' in a film industry where Asian actors are often limited to playing a villain.

A lot of great fighters were amateur wrestlers first and you can study them on film to see how they adapted the techniques.

If I have to choose between a Bollywood film and Pakistan film, it may sound cliched, but I will go with the script first. And if both the scripts are equally good, then I will choose a Pakistan film.

There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.

For a long time, I've had to hustle. If a film role is obviously great, then it's been difficult for me to get a look-in.

If people get inspired by 'Baahubali' as a film, and they realize they can make a big film or a historical film which has good drama and good visuals, if they realize there are good stories to tell here, then it is good.

In film you have the script months ahead of time often, for a good film, but in television it seems like you might not get the script until a week or two weeks before you've got to film it. It's a little weird, but also quite challenging. It reminds me of repertory theatre.

Making an independent documentary film is so hard that usually, the usual model is that your film becomes a model for advocacy, so you can enlist that support group and get as much juice out of your film as possible. That's just practically, financially, what you need to do.

After I finish any film, I move to the next one. It takes about a year to write and another six months are for pre-production and other things. You need a minimum of two-and-a-half months for the shooting of a new film. Then, I also edit my own film.

I don't see a film industry in Germany. They have a great TV culture, but how many German films are really exciting?

Working in film, I'm sure you have insight into this, there's something great that only comes by way of interactions with others that a monastic life does not afford.

The next film I'm making is a horror film, and I'm making it with A24. It's a dark break-up movie that becomes a horror film, set in Sweden. That's all I can really say now. It's called 'Midsommar.' Everybody's been spelling it wrong. It's 'midsummer' in Swedish.

In Hindi film industry, the maximum one can do is try and make a film like 'Badhaai Ho' or 'Andhadhun,' but if I want to make something of the level of 'Kanchivaram' it is impossible. If I will make that kind a film, it will have no traction.

'ABCD' is an out-and-out dance film. I also dance in the film. I must say you would see better dancers than me in this film. It was very tough for me to match their steps.

I hate to write and spend months just waiting for the film to get financed. Then when you start preparing the film and you shoot it, you've already forgotten why you wanted to make the film in the first place. I like to have some kind of coherent energy that takes you through writing, preparing, shooting.

My first movie role was a supporting performance in a Canadian film called 'Final Lady.' It was a great opportunity for me at the time.

When I started, TV was regarded as something that wasn't as great as film or theatre or radio, but it has proved to have far greater powers than those.

In the beginning, I got different kind of roles, and then I realised it's great to be that way. And that thought is always there before signing a film.

You have to strike a balance between imprinting the film with your voice, and trusting these amazing, talented people you've hired to do great work.

If I could put in 100 per cent effort to make a film, then a dance film would require that I put in 200 per cent. Making a regular film is much easier.

I'm just attracted to good material and great characters and that can come in any form, whether it's television or film or a theatre piece.

I am humbled at the fact that I always get great support and reviews from my critics, but it's the film that requires to be good enough for it to work.

I was a young film student around the time of the new wave in film in the 1970s; old Hollywood was naff and over. For me, as a film student, I was going to see French and Italian cinema; American cinema was 'Easy Rider' and 'Taxi Driver.' Everything was gritty.

'Housefull' is made with the express purpose of being an entertaining, time-pass film. No one is supposed to search for great art in this series.

I would make a huge distinction between theater improvisation and film improvisation. There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage. But in a movie, it has to be real, and the characters have to look entirely real because it's being done as a faux documentary, so there are even fewer actors that can do that on film.

Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.

The way you set up for a sequel is by having a successful film. The focus is on making a successful film, and making a film that travels around the world, and that people enjoy and have fun with, and that people are able to escape with.

I usually like to introduce the film and the music with the opening titles. It's a great help for a composer to bring the audience into the work that we're going into.

I was the female lead in a romantic comedy. It's a little indie film that we shot in China called 'America Town,' starring Daniel Henney and Bill Paxton. I actually had to speak Chinese in the film. It was funny because I found out I was doing the film and then a week later, I was in Shanghai.

Farber had a huge effect on me as a writer. I don't mean I write like him. Farber is, first of all, a great stylist, a great writer. Anyone can read Manny Farber's film criticism, whether that person is a novelist, a poet, another critic, a historian, and learn a lot about writing by reading him.

Because of the wealth of fine music spread through the film, working on it held all the fun and excitement of attending a great concert.

I love film and, particularly, shorts. You don't get to see them often, and they're a great little form, like a short story.

'Red Knot' is a film that I shot in Antarctica almost three years ago on a boat. It was a film that was improvised and it had very interesting circumstances while making the film, obviously. We were on a small boat bobbing around in Antarctica. It was a really remarkable experience.

To find money to make a film, you have to write maybe 50 pages to explain what you'd like to do, what the film will be, but everybody lies. Because he doesn't know what the film will be. Everybody writes 50 pages and sends it to a TV channel, a producer, to get money, but everybody lies. Or else your film is not interesting.

I started my career with her. I was supposed to do my first film in Tamil in which she was the other heroine. The film was titled 'Vennira Aadai.' It was a love triangle, with Jayalalithaaji and I playing the hero's two love interests. But the director Sridhar removed me from the film after a few days' shooting.

I have two little black boys. And a film like 'Do the Right Thing' can help illuminate the times for them with great storytelling.

My initial attraction to 'Red Tails' was the opportunity to play a character that was not me. 'Stomp the Yard' was a great film, but I played myself there.

One of the great ironies of my career is that people imagine me as some sort of hardcore metal guy because of the Metallica film.

I went to Oberlin College, and they don't have a film major, but they do have what's called an individual major, where you can sort of pitch to a committee your own course study, and if they approve it, you have essentially just designed your own major. So Oberlin doesn't have a film major; they do have a film minor... And then my spring semester of my junior year, I went off to NYU film school as a visiting student - they have a program for kids from other schools to come in for a semester.

I'd like to think that we strive in film and theatre to tell great stories, and I believe in the power of storytelling in our culture.

I've made the film 'The Good, the Bad, the Weird,' which was an Eastern Western film. Obviously, the Western film is American and American only; there's really no Western genre over in Asia.

When I do a film score, I am basically nothing more than a fancy pencil for hire. I don't own any of the music when I am - it belongs to the film company - and likewise, when I am done, even if I come up with something astounding that I may want to revisit... in the world of film composition, you can't do that.

For any actor, being part of a Mani Ratnam film is a great experience. I grew up watching his films.

I just felt like, you know, I read a lot of scripts out in L.A., out here in the industry and I just felt like this film was just being genuine. I just felt like it had really great characters. And all the three different characters have completely different stories and they're all kind of intertwined together thematically. So I just thought it had great characters, great themes