Top 1200 Horror Films Quotes & Sayings - Page 15

Looking back on the long haul in my career, little films, big films, TV, the Western thing has been really good to me.

I think indie films have more of a fresh, experimental vibe about them, whereas studio films know what they want and can basically get it.

I like superhero films, and I love Star Wars movies, but I want to make sure there's a wide diaspora of films getting made.

Whereas European films have traditionally been able to go into adult relationships. I think there's a huge audience in America for those kinds of films.

At times I do feel that there is some issue with child actors because in all my films my performance has been appreciated but the films have not created magic at the box office.

We should release films without revealing the director's name, as his or her gender would not be a barometer to watch those films.

Pornography, it seems to me, is no different from war films or propaganda films in that it tries to make the visceral, horrific, or transgressive elements of life consumable.

I think early in my career, I didn't choose films that were crappy films, necessarily, but I didn't go out and campaign for smaller, better roles.

It's true that there are younger people making films, and there are different kinds of films. This has created some attention in what's coming out of Greece, and people like to find a way to name this new ethnic cinema. It's not like there's a movement, or a common philosophy in making these films. They're just things that happened, and now people are paying attention to it.

I came to terms with living mostly in a world of horror pictures or genre pictures. I have had a few chances to get outside and do something different, like Paris, Je T'Aime or Music Of The Heart, but mostly it's been my lot. And to have created, with a few shocking films, an awareness or a perception of me as somebody dangerous and scary - that can be sold, but trying to sell me for some other kind of picture, like Music Of The Heart, was very difficult.

Sometimes, I shot for four films but none of them released because of various reasons. So, I started becoming conscious about the kind of films I do.

I have regional films, Bengali and Telugu, but always wanted to do a Marathi film especially because I think this industry makes the best comedy films.

I had always studied French and was obsessed with French films. I hated the way American films always had happy endings. I liked the way French films had dark and unpleasant characters; it was much more realistic.

People don't wish to watch masala films of the '50s any more. Audiences do not want loud films at all. They are watching Netflix and Amazon that have fresh ideas.

At the end of the day, what difference does it make if you made 10 films or 18 films? You made 10 films, but you had a great relationship with your kids, or at least you did your best not to screw them up irrevocably, or you made 18, and they don't return your phone calls.

I will not leave my South films for a Hindi film. I want to be sincere to my South film makers and commitments. Only if my dates are not clashing with any of my South films will I do Hindi films.

Usually, the worst films become cult films.

I have always felt a little bit uncomfortable with question [why I'm write these stories]. It's not a question that you would ask a guy that writes detective stories or the guy that writes mystery stories, or westerns, or whatever. But it is asked of the writer of horror stories because it seems that there is something nasty about our love for horror stories, or boogies, ghosts and goblins, demons and devils.

I could have signed 10 films after 'Jai Ho,' but those films would have done nothing for me. I wanted to wait for the right project.

I like voice-over in films, and most of my films have been voice-over films.

Films portraying successful black people getting married are great, but films that only show one aspect of our culture, bother me.

In Kerala, we prefer slower films unlike the Hindi audiences. Here they want fast films with action in every frame. Also, we don't have too many songs.

I did two films that have a great following. One is 'Caddyshack,' one is 'Tron.' To tell you the truth, most people don't know that it's me in both films.

My films require that the spectator ask the big existential questions. If you're not interested of turning inwards for answers, my films won't fulfill their whole purpose.

I think maybe written films are better than real films. You can see them in your head and yet everything is exactly as you want it to be.

At the end of the day, my bread and butter comes from films, so I have to work in films that may not have a great script, but give me a fat pay cheque.

When I began my journey in films, I never thought I'd be playing the lead in my films and was keen to move ahead with roles that give me scope to act.

I was 13 when I first saw my mum's films. There were these boys who said to me, 'Your mum makes sexy films,' and I said, 'She doesn't.' Then I watched them and my mum makes sexy films! I'm a huge fan of my mum.

Festivals are where I see other peoples' films, where we talk, where I get to learn what was working about the film, I get to have a discussion with viewers... and people who enjoy reading films - I enjoy reading other peoples' films, and what discussions can come of that.

Sci-fi films are the epic films of the day because we can no longer put 10,000 extras in the scene - but we can draw thousands of aliens with computers.

I think my films kind of walk this line that I'm proud of, that they feel sort of like films of my youth, which were far more commercial.

If 'Trek' is a hit, we'd love to do a series of films - a regular event. Look at James Bond's films. They've been around since the early sixties.

I'm not only my films, but I'm pretty much my films.

There are films that are difficult. There are films that would actually affect your personal life because of the length of the production, how long [you're away] from the family.

There are always at least five good films at the end of the year to get nominated, but generally speaking nowadays, it's more of the independent films that are recognized.

In Shoojit's films, there is no hero and villain. Every character has its own space and there is a social message in all of his films whether it is 'Vicky Donor' or 'Madras Cafe.'

By being part of films like 'Judwaa 2,' I can ensure that I garner more fans, who'd then want to watch me in other powerful films.

European films were what it was about for me - the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can't really find in American films

There are some films that really break the mold, and some films that don't. I've been looking for films that break the mold a bit.

When you are a pan-Indian actress, you are doing films in different languages and invariably, you end up not signing films in one language or the other for a brief period.

I have always taken up films that I like. And in the process if I have done films which bring out something that could do society good, I think it's great.

Films that are easy to sell happen to be the worst films. Look at the poster for 'Wrath of the Titans' and 'John Carter': they're exactly the same. You could switch titles.

My films have a bold interpretation. They are unapologetic about showing intimacy. Going by the number of people who come to watch my films, this is what our target audience yearns for.

The second-grade films - where are they? No more are they made, and yet they were by far the best films for holding hands at, and wasn't this always the main purpose of the cinema?

No matter how many films a filmmaker makes, there would be very few films that are truly great, where he has got everything right.

I never think there's any competition between films. I root for everybody's films. I especially have a fond place in my heart for graphic novels and comics.

I'm not making films for middle aged journalists, who are mostly men. I make films that hopefully entertain people, where they can learn something about life.

You read reviews by top reviewers of films that not only had remarkably interesting scores, but films whose effectiveness was absolutely enhanced, and frequently created by the music, yet the reviewers seem unaware that their emotions and their nervous reactions to the films have been affected by the scoring. This is a serious flaw. Any film reviewer owes it to himself, and the public, to take every element of the film into account.

I've directed five films and I've proven that people have made money with my films - many people have made money with my films.

I sat on the bed. I looked at the Rorschach blot. I tried to make it look like a spreading tree, shadows pooled beneath it, but it didn't. It looked more like a dead cat I once found, the fat, glistening grubs writhing blindly, squirming over each other, frantically tunneling away from the light. But even that isn't the real horror. The horror is this: in the end, it is simply a picture of empty meaningless blackness.

People turned around and came back to watch. An enormous crowd formed. Ampol Oil took films. When we left Australia, we also left our boards for the Aussies. Those films were shown all over the country to different clubs. The films and our boards became the basis for the modern surfboard movement in Australia.

I hate when they portray women as just sex symbols in short skirts, running around playing dumb. I refuse to watch such films or be in such films.

When I grew up my role model was Will Smith. I wanted to have my own TV show, do films where I can do comedy and big films such as 'I Am Legend'.

European films were what it was about for me - the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can't really find in American films.

According to me films like 'Sonali Cable' are career changing films and only few get such chance, I am happy that I did this film.

I have always tried to make profitable films because people's offices shut down if films fail, and I will do everything to avoid that.

I'm seeing more and more interesting horror come my way. More and more interesting thrillers and genre films are coming my way from the studio level, and they're financed and they have movie stars attached and all of that. But a lot of times, the storytelling just doesn't speak to me. It feels like it's still oftentimes coming out of a kind of prescribed notion of normalcy, prescribed notion of gender roles. There's not a lot of "new" seeming to be happening.

It's hard to be reverent today when directors make films that are not as good. There will be time later, though, when their lesser films are forgotten and just focus on the greatness.

There are films where the promos reveal all the punches and when you go to watch the film you feel like having seen it all. Such films don't last after a good opening.

I never worked on different films at the same time. I made one by one. I never made two or three films together. This is impossible! I only have one head. It is impossible for me to think about two films at the same time. There are a lot of these legends about me, and I don't know why. I'm not a legendary man. But the people all the time say I make three films at the same time, and it's not true. Don't believe these kinds of things.