Top 1200 Horror Films Quotes & Sayings - Page 19

I am a great fan of Rituparno's films and have always nurtured a wish of acting in his films. I was very impressed with his 'Chokher Bali,' 'Bariwali,' and 'Raincoat.'

Filmmakers who use narrators pay a price for taking the easy way: narrated films date far more quickly than films without narrators.

To be quite honest, numbers don't tell you everything because audience reactions differ. Some of the biggest films at the box office are not necessarily films that everyone has loved, they just opened to a good response.

I wanted to make films, but the films being made in the 1990s were not my kind. I couldn't break in, and even if I did manage to get a foothold, I didn't know what I would make.

I didn't know I wanted to do films until I started to do them. Very few films are made in Mexico and film-making belonged to a very specific group, a clique.

There's a need to create a space for different kind of films. Let all kind of films co-exist peacefully.

Honestly, I was always very keen on acting in the South Indian films. I think people here have a notion that Bollywood actresses aren't keen on doing films here but let me tell you, we are.

In the first years after 1989, films were partly financed from the state's budget as well as by public television. Still, except for a few special cases, most films are made this way.

Kung fu films have to move with the rest of the world. You couldn't keep on doing sword fights in historic films. People wanted superheroes. They wanted something fast and new.

Some films really do take years to get going, but I'd say that most of the films I want to do are slightly smaller projects. Some could be sketches. They're not all oil paintings.

We made four feature films with Sherwood Baptist. The wonderful thing was the church (members) volunteered. It was an awesome atmosphere of attitudes. The hard part was (that) all four of the first feature films we made take place in modern-day Albany, Georgia. We know that not all of our films going to be (set in) modern-day Albany, Georgia.

Films set in 90210 are ten a penny. But there's rarely room to make films about a different postal code, to show the lives of ordinary Americans who have to live with very limited material resources.

It has been a fairy tale for an outsider, bouncing from one film set to another, choosing my films as assertively as those films chose me. And through this journey I have not once faced the dreaded syndrome of the 'casting couch.'

According to me, a film can talk for itself. Like, Aamir Khan does not promote his films on a large scale, but his films work on the box office.

A lot of films made me love the movies, everything from Hitchcock to Godard. But the ones that really grabbed me were Costa-Gavras's films like 'Z' and 'State of Siege.'

My focus are only films. There is something special about films as when it is being played in a dark theatre, the audience is watching only you. Whereas in TV there are a lot distraction.

Though I'm happy with the response to the film, I've been hearing the feedback that 'Yennai Arindhaal' has traces of my earlier films. It was meant to be like that. Since it's part of a trilogy, hence the reference to the other two films in the franchise.

I know how to make films and now I'm able to make films with the resources and the tools that match my imagination, and what filmmaker doesn't want to do that? I feel very fortunate to have that. I don't take it for granted.

Most Pixar films are better than most live action films.

I'd love to make films in England, and I tried to. I think there's a wealth of amazing talent and astonishing writing over here; there just seems to be more of a culture of developing films than actually making them.

I said I would do all the films about the commercials, and the films about ball-bearings and Ford tractors and so on, if once a year they gave me money for a free film.

I don't see making films to entertain and making films to inform as separate things.

The Mumbai film industry has definitely a bigger reach. But considering the rich content of work in many Bengali films, even by new directors, there has to be a better financially backed distribution model for films here.

Even before the economic crisis in Greece there was no structure for making films - no proper industry, and the structure didn't help filmmakers at all. So filmmakers had to help each other, and make very, very low-budget films. Now with the crisis, things got a bit worse, but filmmakers are still going to be making films. It didn't change that much.

It's very difficult to break into motion pictures, but it's oddly easier for directors today because of independent films and cable, who have inherited for the most part those films of substance that the studios are reluctant to finance.

Some of the films I've been most happy with have been the films that don't see a lot of traction.

I really enjoy watching animation films and I have always been curious about how such well-established actors in Hollywood lend their voices to animation films.

I prefer the films that put their audience to sleep in the theater. Some films have made me doze off in the theater, but the same films have made me stay up at night, wake up thinking about them in the morning, and keep on thinking about them for weeks.

I think the important thing about staying creative and staying sharp and original is not to look back too much, and to kind of look to where your vision is going now. But I have felt over the years a definite progression or arc from feeling guilty about what I had done with the first one, because certainly there was all that fundamentalist guilt that came pouring back in. Feeling like I'd done something horrible, "I'm a despicable person and I'm perverse," and all these things, to a sense of the power and the necessity, in a sense, of horror films and dealing with dark material.

Films are made for audience's appreciation but films are also made for artistic satisfaction.

There's a side that I want to do just like really retarded arty films like parody, pretentious art films that kind of are supposed to have some deep meaning.

I can't tell at what age I developed this love towards movies, but I've always enjoyed watching films. I've grown up watching the films of my uncles Chiranjeevi and Pawan Kalyan.

FM stations still play songs from 'Birugaali,' 'Patre Loves Padma,' 'Sanchari' and 'Dheemaku' and people love them. But since the films failed, hardly anybody remembers that I scored the music for these films.

My films may not have a great opening, but I am not bothered about it. Whatever the numbers be, I want those viewers who come for my films to be excited about watching the movie.

I have never intended in any of my films to sell violence or to glorify it. Even in the most intense action sequences in my films, there is a message about how evil violence is.

Honestly, I don't go out of my way to see animated movies. I'm mostly influenced by.. the films I tend to like are the small films, small personal stories. With characters you can believe.

The Cannes film festival is about big-budget films but also remarkable films made in different political regimes by film-makers with little resources.

I like to work with people who want to make films because they are passionate about films and not because they want to sell films and make money. I am not for people who get the most saleable actor and then the most saleable director and sell the film.

I think my sweet spot is to make personal films on not-too-big budgets and also make other people's films, bringing productions to Iceland, upping the business here.

When a man sees a dying animal, horror comes over him: that which he himself is, his essence, is obviously being annihilated before his eyes--is ceasing to be. But when the dying one is a person, and a beloved person, then, besides a sense of horror at the annihilation of life, there is a feeling of severance and a spiritual wound which, like a physical wound, sometimes kills and sometimes heals, but always hurts and fears any external, irritating touch.

You've got to remember that films don't lead the way. People think that films are trying to lead society. Mostly, they're reflecting the moods and thoughts that are going on in the country or around the world.

I'm not making films for critics, I'm making films for people to go out and enjoy.

The kind of films that are made depends on the kind of films that are becoming hits. That's why I always say you should be very careful about which film you decide to watch.

There are the horror fans that love the 'Evil Dead' because of the humor, but I'm sure it's not all of them. Not all horror fans love 'Evil Dead' because of the humor, at least not me.

There are the horror fans that love the Evil Dead because of the humor, but I’m sure it’s not all of them. Not all horror fans love Evil Dead because of the humor, at least not me.

We can't deny that films have a bigger reach. After the popularity of the 'Slumdog Millionaire,' a lot of people started reading Vikas Swarup's 'Q & A'. From a business sense, films are a good tool to increase the number of readers.

I like to watch films with my wife and friends. That's how films should be watched. Only then can you enjoy the movies. Then whether it is raunchy or not, hardly matters.

I generally like very visually striking films. I love a lot of Stanley Kubrick's films. I would have to say 'Dr. Strangelove', which of course has got resonance in 'Watchmen'. It's a favorite movie of mine.

I have always been saying that we are making a mockery of ourselves by sending such idiotic films to the Oscars. This is very sad. We have great filmmakers but none of their films are sent to the Oscars, why?

In the U.S., it would be so much better if the studios made many more smaller films for niche markets rather than a few tent pole films that swamp cinemas and Hoover up all the funding.

Wiseman's films are some of the most pure cinema, and to take a journey in a Wiseman film is like no other. He's been doing it so long, with a body of over 40 films!

Multiplexes are being very unkind to small films. They are giving a lot more space and value to the big budget films rather than distributing show timings fairly. But that fight will go on.

Films like 'Satyamev Jayate' help in getting some distributors and financiers for films like 'Gali Guleiyan' which give me a lot of satisfaction.

There was a time when not many people had access to Malayalam films. So those who did have access went on to copy the films, add a few bits, and present it like it was their own.

I've done some wonderful performance on TV even better than films. But once people watch it, they just forget it. The impact is not strong. So, films and TV are different.

Developing films with directors, developing films with actors, is a poor percentage play for a screenwriter.

To be honest, many of my well-wishers want me to play the solo lead in films. Maybe, it's time to think about it. In fact, I have cut down on signing up multi-starrer films.

I am done with the cliched heroine roles. I can't go to work without a challenge. I want to do films that drive me, films in which I am a part of the main plot.

There's a side that I want to do just like really retarded arty films … like parody, pretentious art films that kind of are supposed to have some deep meaning.

Film is universal. All the countries of the world are making films. Hollywood is the only major unsubsidized center for films. To my knowledge all others are at least partially subsidized. I'm glad Hollywood isn't.