Top 1200 Horror Films Quotes & Sayings - Page 20

Some films clearly seem to divide people. And I do think there's something incredibly exciting about the commonality of us as human beings, which some films are lucky enough to tap into.

One of my favourite films is called 'Lacombe Lucien,' directed by Louis Malle. The lead character in that film, like the lead characters in many '70s and '80s films, has a moral ambiguity to him.

I think that people who make films and think they're changing the world are sorely mistaken. If that really is your goal, there are far better ways to do it. I'm making politically observant films for audiences.

I made tons of films. I did animation for my friends' films. I animated scenes just for the fun of it. Most of my stuff was bad, but I had fun, and I tried everything I knew to get better.

When you do films after films, you don't let life happen. At least, in my case, I end up relying too much on emotions, which aren't raw enough. Travel helps me to get a renewed approach towards things.

I'm always open to acting in Tamil films. In fact, I'm open to films from the south.

Subconsciously, there was always an actor inside me. But while growing up, it was a very normal childhood because my dad never got films to the dining table and never discussed films.

You don't do background music the way a lot of more conventional films do. The music is often kind of a character in your films to the extent that sometimes you stop and watch someone perform a song.

I've made a dozen films in the English language. But then, for love, for my family and friends, I returned to Europe... I annoyingly - looking back - turned down films like 007, 'For Your Eyes Only,' written specially for me.

Growing up, I wanted to write films and make films. Even as I took this detour and stayed in the music world, I still think in terms of 'What is in this room? What is the shot? Who are the characters? What is the conversation here?' My sense of pacing is very filmlike, it's not musical.

No one can force you to do a film. I am responsible for the films I chose, hit or flop. I am where I am because of what those films taught me.

I really think that I don't mind people sleeping during my films, because I know that some very good films might prepare you for sleeping or falling asleep or snoozing. It's not to be taken badly at all.

Bhojpuri cine fans watch good films. They watch Salman Khan's entertainers and can also watch 'Tanu Weds Manu' type of films too.

I don't believe in misconceptions in art and films. There are always so many different ways to relate to or understand a film. I love films that give a great amount of space to the audience to explore or be active with what the film is saying.

In some ways, many of the skills you have as a producer on independent films also apply to making big tentpole films: You surround yourself with a brilliant director, great script and talented people in every department who are smarter than you.

There are wonderful films that become studio films, but they're conceived independently. That's where the action is. 'Being John Malkovich' is a great example of a picture you wouldn't think the studios would want, and it turns out to be a movie that touches everybody's heart.

From my films, you can at least learn about Iran, you can get a sense of the history and the society. But no such films have been made about Afghanistan, so you really can't know much about it.

People think that I have some idea about how I choose my films. I make sure that I am doing the kind of films that I want to watch. You hear so many stories, and one of them will stand out and connect to you somewhere.

I teach at USC. I have a big class of 360 kids, only about a fifth of whom are film majors. I don't just show the Hollywood blockbusters. I show independent films, foreign films, documentaries.

If I want to be the sexy Bipasha Basu, then I'll do a song here or a glam role there. But I want to be part of films that are watched, films that earn money and are new age, with author-backed roles.

I've always been interested in showing our films to international audiences. The easiest way is through the festival circuit, a big marketing platform for films that aren't big enough to be in the mainstream race.

I have some calls out to Tom Cruise, Brad Pitt and Eddie Murphy. I said, 'I won't star in any blockbuster films if you stay out of animated films.' They just won't call me back.

Films were always there at the back of my mind. I would try to move away, but films kept coming to me. I would do movies for friends. I guess some things are meant to be!

You really think that on my films people tell me what to do? I don't think so. On my films I decide.

I was not interested in films, but I was forced to act when I was just 14 or 15 years old. Now, I feel that that was not the right age to enter films. One should at least be 21 to enter the industry.

Each one of my films is personal; each one of my films is emotionally autobiographical. And I like directors who do that.

I'm not eager at all to present my life out there for public consumption. I like to do one or two films a year and then do what is absolutely obligatory in terms of promoting them. My life outside of films is vital to me.

I decided to do advertising, as ad films were made in only 10 days, and started assisting Sanjeev Sharma and Mansoor Khan. Surprisingly, I was a whiz kid and soon learnt to edit films and became an expert at it.

I'm a huge fan of the films of the '70s and even into the '80s, Sidney Lumet, all those films that used what was going on in people's lives as drama. And not only are you entertained, but hopefully have a greater understanding of your world coming out of it.

There are lots of great movies coming out of the U.S. but it's not something I've ever really been interested in. They're great films but I much prefer the smaller independent films, which are more thought provoking and experimental.

Coming out of the '60s and the Vietnam War in America, it was commonplace for people to make films that had relevance to them. And since the '70s, cinema has gone almost entirely in the direction of spectacle and escapism and superhero films.

When I was seven, I said, "I want to act." When I was 10, I realized that films exist, and I wanted to be in them. Not a comedian, I wanted to be a dramatic actor. Films just seemed such fun, and like such a great thing to do.

In terms of romantic films, all-time romantic films, I really like 'Gone With the Wind.' And I realize I sound so cliched saying that, but there's something so absolutely romantic about it.

Actors and actresses have done a lot of films with their legs, with their arms, with the whole crew and the camera. Why shouldn't they be as good as a first-assistant director who has made three or four films? They've done it with their body!

I will do all genres. I will do intense roles, along with the kind of films that I have grown up watching, like 'Biwi No. 1' and 'Judwaa.' But I won't do films where, if you take me out of the script, nothing changes.

As an actor I get opportunities to do different kind of films. It's not that if I have done a few comedies, I'm averse to other roles or genres. It's just that I go for the films I like and incidentally some of them have been comedies.

I don't make films to win prizes. I make films to make films.

The experimental film scene was very much misogynistic as well. I don't know if you have read what little attention was given to the films of Joyce Wieland, who was the wife of Michael Snow. Michael was the "genius" and she was not. If you look at the films they're wonderful, but very different. Michael was very proud of the films too, so it was not coming from him. It was coming from the general environment. I think both Chantal Akerman and I shared that. We wanted to find a language, which was the language of women.

I think films would get a lot better if people paid leaving the cinema. There's a whole business plan of opening terrible films in hundreds of cinemas and then closing them when the word of mouth gets out.

June is definitely a special month for me as many of my milestone films have released in this month, but that doesn't mean I consciously choose to release my films only in this month.

When I was 12 I made some little films with my friends. I tried to make gangster films, like Fantomas, but I remember being very disappointed with them. They weren't frightening at all. I'm sure they'd be very funny now.

I don't rehearse films as much as opera or theatre. When I began directing films I thought a long rehearsal was a good idea. Experience showed me that the best performance was often left in a rehearsal room.

I've been influenced by a lot of films. And a lot of them are the typical interesting, artsy films. But I haven't talked enough about how there are those few big blockbusters that really rock your world.

I wouldn't say I'm a connoisseur of film. I like certain films, but I don't pretend to be a connoisseur of films, no.

In the end, with all of my films, I want to understand the continuity between these films and understand what they're trying to do.

Richard Donner made great movies. Seminal movies. The Academy, though, and we have to be careful here, should recognize popular films. Popular films are what make it all work. There was a time when popular movies were commercial movies, and they were good movies, and they had to be good movies. There was no segregation between good independent films and popular movies.

I remember watching 'The Lunchbox' that released around the same time 'Ship Of Theseus'. Both films found space in the independent cinema circuit. But at a personal level, 'The Lunchbox' is one of the favourite films.

I don't care to analyze acting. On the other hand there is a fascination because distributors are putting out British films. You get films here with great performances you'll never see again. Why compare. We should go after the businessmen.

In writing the new films, I’ve come to realize that AVATAR’s world, story and characters have become even richer than I anticipated, and it became apparent that two films would not be enough to capture everything I wanted to put on screen.

I have a romantic comedy I'd love to make, but I can't get the money for it. It's hard to get people to give you money for an arty romantic comedy when you've done a horror movie. So I can just sit there and keep complaining about that, or I can go make another horror movie this year. People will get behind me on that, because I'm relatively bankable. As long as I can do my own thing with it, I'll keep doing it.

What I want to do is make films that astonish people, that astound people, and I hope you want to do that too. It's easy to make money. It's easy to make films like everybody else. But to make films that explode like grenades in people's heads and leave shrapnel for the rest of their lives is a very important thing. That's what the great filmmakers did for me. I've got images from Fellini, from Bergman, from Kurowsawa, from Bunuel, all stuck in my brain.

The good thing about films is, you never know how good they will be. If there was a formula, there would only be good films!

In the '90s, I kind of put aside all those things I loved in the '80s and I got really into watching foreign films and art films and stuff like that, and sort of soaking those up.

Well, I think by and large, certainly in terms of cinema, American culture dominates our cinema, mainly in the films that are shown in the multiplexes but also in the way that it has a magnetic effect on British films.

I like doing personal films, after doing a bigger movie, I enjoy doing smaller, intimate films.

I don't want to exclusively direct white films, or black films. I want to have a choice.

I have enjoyed the films directed by Prabhu Deva and simply love his choreography. And he is the best dancer India has. I feel he knows what the audience wants, and that is why the films he has directed are hits.

You don't have to do offbeat films to prove that you can act. I have done it but only to prove myself that I can fit convincingly into every kind of films. I want to do the 100 crore film where the hero does all the work, and I get to relax.

The United States and Turkey are the only two countries that don't have some kind of subsidy for the Arts. The whole culture in society has made certain films more acceptable. I turned down so many films in the '60s and '70s.

I don't know why I am not offered woman-oriented films. Films like 'Satrangee Re' went house-full at some centres, but I didn't have much to do in the film. Everyone came up to me and said that I looked pretty but nothing beyond that.