Top 1200 Independent Films Quotes & Sayings - Page 20

When I have time, I would like to do films in my language but I would also like to star in Bengali and Marathi films too.

Films are meant solely to provide entertainment. There are no lessons to be learnt and and inferences to be drawn. Has anyone become dutiful and law abiding after seeing a film that espouses these very virtues? Films can do no more than influence fashion, decor, and hairstyle trends.

People use location as a language in films, and Quentin uses action as a language in his films. There's really not a lot of violence. It's more of an emotional beat than it is a physical beat

Kollywood allots big budget only for commercial films. Bollywood film industry is straightforward that way. When compared to Bollywood, Kollywood is fake. They keep churning out the same films.

I think I'm no different to my friends who are doctors or businessmen or architects - we all started watching films of the golden age together. But whether I'm making films or writing poetry or doing photography, it's very much rooted in my sense of unease. And that's really where everything goes back to.

Film can do lots of things: It can produce alternative ideas, ask questions, just record the reality of what's happening, it can analyze what's happening. Of course, most commercial films are controlled by big corporations who have an interest in not doing those films.

Satyajit Ray made films the way films should be made - from start to finish. So whether you're needed on the set or not, you can spend your whole time thinking about your character.

When I went to film school about three years ago, the first two years you're required to make a series of short films. I started making films based on short poems.

I don't see scary films. I certainly wouldn't go see my films.

I don't see scarey films. I certainly wouldn't go see my films.

There's one thing which I hate about color films... people who use up a lot of their despairing producer's money by working in the laboratory to bring out the dominant hues, or to make color films where there isn't any color.

It's gotten out of control. It's taking bigger and bigger names to make smaller and smaller films. I worry that important films without a big name attached won't get made at all.

It really upsets me that the media insists on turning 'Do the Right Thing' or 'Boyz N the Hood' into 'black films.' They are American films. They may open the window on the black experience, but they had things to say to everybody. That's why they were so successful.

I really enjoy acting, and whether it's TV or films, I feel lucky to be doing it at all. In the end, I'd love to do films, but I'm not going to work just to do work. I only want to do something that I feel right about.

My love of visual sequences stems from live-action films like Sergio Leone westerns, Kurosawa, some '70s action films, Tex Avery, and my general love of animated movement.

People use location as a language in films, and Quentin uses action as a language in his films. There's really not a lot of violence. It's more of an emotional beat than it is a physical beat.

Our films are changing so people across the world can see them - when 'Highway' premiered at the Berlin Film Festival, a Polish lady said to me, 'It has a strong message for women.' So it's good to know our films are connecting universally.

I don't make films for other people; I make films for me.

Come to think of it, some of the most special films in my career were 'City Of Life' and 'Happy New Year.' For both these films, I stayed over a month in Dubai and just when I was thinking that I need one more film like that, that's when 'Kung Fu Yoga' happened.

I love the tradition of male coming-of-age films like 'Saturday Night Fever' or 'Mean Streets' or 'Go.' I love those films that work music into those stories.

I'm a big fan of silent cinema and I think that before I got into the canon of European arthouse cinema, the first interesting films I liked as a kid were German expressionist silent films.

I don't see me doing $100 million films because $100 million films, the very nature of them, you need to offend as few people as possible just to make your money back.

I like the platform to show your art and everything that goes along with that. To show your voice and hopefully find films that are more politically driven, films that maybe inspire.

I have done many comedy films. Success of films like 'Partner,' 'Singh is Kinng' gets you to a very wide audience reach. But for greater gains, you need to take greater gambles. If it works, you get respect and recognition.

Whenever I sign a couple of films, people say I'm not paying attention to my constituency. Whenever I go to Rampur or elsewhere, people ask me about my films. It is strange, really.

I think we have a responsibility to shape the zeitgeist with the movies we put out there. Because 'After Earth' isn't going to do it. 'The Expendables 3' isn't going to do it. You could make one million amazing films for the amount of money they spend on those films. I get frustrated.

The perception that 'Indians can't make superhero films' needs to change. We can make superhero films in the budgets given to us.

Well, I'm really interested in the idea of making genre films, but movies have a much more personal undercurrent to them and that look beautiful, and that's sort of the films I'm kind of interested in making.

You can't expect to connect with everybody, and that's all right. The more I make films, I'm learning that you don't have to make films for everybody. A film can be made for a smaller group of people than that, and it still warrants an existence.

The theater is a need for me. It's a terrible attraction, something I'm compelled to do. And one derives a form of nourishment from the theater which you can never get from films. Making films weakens you in some way. With the theater, the work itself is a regenerative process.

I do want to say things in these films. I want audiences to come out with shards stuck in them. I don't care if people love my films or walk out, as long as they have a strong response.

We have reversed the usual classical notion that the independent "elementary parts" of the world are the fundamental reality, and that the various systems are merely particular contingent forms and arrangements of these parts. Rather, we say that inseparable quantum interconnectedness of the whole universe is the fundamental reality, and that relatively independent behaving parts are merely particular and contingent forms within this whole.

You know, some people say that Cannes is the worst place in the world to see cinema. It's a paradox. They have the new films , lots of interesting films premiering there for the first time. At the same time it's such a mess and a confusion. You have to run from one screening to another.

I feel even old people can do a nice love story, but here we don't make that kind of films. In the West, such films are being made and they make a nice romance, which is more like compassion.

The problem is some of our riskier films just don't make as much money. But if you only make films that will just be commercially successful, then you can also sink yourself as a studio.

In a lot of films, forever it's been boy-meets-girl, and thank God for films like - I know it's going to sound ridiculous - 'Frozen.' I was so excited for my daughter to be able to watch a love story between two sisters instead of some stupid prince.

There's music in my films but you seldom hear it. Very early I got the idea that the important things in films were people - the actors. They are the intermediary between the director and the audience. They make direct contact. People to people communication.

I took a break from TV for about three-four years. During that time, I had to let go of some of the best shows that were offered to me, as I wanted to focus on films. It was believed that if you are seen too much on TV, you won't get films.

I had done student films for the School Of Visual Arts and for NYU and all these schools in New York, so those were my first film experiences, but they were student films, so I guess they don't really count.

When I was younger, making films was so all-consuming. It was a life-or-death thing. Films still mean so much to me when I'm making them. So I had to get away from that attitude of living or dying with every film, because otherwise you'll go insane.

In France, it is television that pays for films to be made and I received all of my funding from TV: two television channels, government funding and distributor contribution (Wild Bunch). My films are low-budget, and not expensive [to make].

Personally, I want to do action films. I even tried it with 'Loafer,' but things did not work out. So, I am taking things as they come and am trying to do different films which will suit my image.

I think most films are too predictable. They follow familiar patterns. I suppose audiences like to know where they stand but I like films that take me by surprise, take unexpected turns and twists.

Neither Rainer Werner, nor any of us could have succeeded, or produced the number of films that we did, just on our own. We showed our films to each other, discussed them vigorously and rarely agreed.

'25th Hour,' like a lot of my films, takes place in New York City. I've been very fortunate to make films in the city that I live. I mean, it's great going home at night instead of being on location.

I'm a fan of films in general; I mean, I don't think I've ever considered myself specifically a horror fan even though I do enjoy horror films, find them really entertaining.

I started to have these ideas for films. They were like running images in my head. But I didn't think I could be a director. I just literally didn't think it was a possibility. Then I started to suddenly see films of women.

I'm no longer interested in making political films. There's something old-fashioned about them. Young people now don't care for politics. It isn't present in life as it used to be. And increasingly I like films which reflect present-day reality.

All films are political, whether they mean to be or not. Star Wars is political. As soon as you have conflict, which is the key to most films, you have politics. It's just that some are more artful with the handling of politics than others.

As a kid, my dad would take me to see indie films when I would visit him in New York. Films that I just wouldn't see growing up in the Bay Area.

In feature films, I used to be the hero's friend, a regular character. In short films, I played the hero; I got roles where I could work on my character and performance. They made me aware of myself as an actor.

When I was first exposed to the films of Ingmar Bergman, I found them frank and disturbing portraits of the world we live in, but that was not something that displeased me. They were beautiful. I thought people would respond to my plays the way I responded to Bergman's films.

When you look at golf films before us they're all - garbage or satire. A lot of sports films tend to vilify the opposition. Where the opposition becomes this big angry monster, so big you can't beat him.

The action films I will make in the future will be more believable and character-based. I am now on my second cycle of fame, and I want to make films that smell real and are truthful.

I prefer working on films. I like the variety. There is nothing better than playing a bad girl for two months, then playing someone sweet for the next two. Films give you this opportunity.

There's the animation ghetto of feature films in this country. There's this flavor at DreamWorks, and Pixar does their own thing, and generally they're safe. But if you look at Walt Disney's original films, at the time and in the context, they weren't safe. They were really dark and troubling.

I wasn't that familiar with silent films. I didn't know, for example, how hugely popular silent films were in the 1920s, how people would go to the movies several times a week.

I am a big fan of the old Howard Hawks films from the 30s and 40s, I was a big Hepburn and Tracey fan for a while and Woody Allen films that are a very different kind of romantic comedy.

How I'm portrayed in films has more to do with the filmmaking and what they need in the story than anything else. I'm the same person I've always been, I just get used in different ways according to the filmmakers' needs - which is fine with me; it makes for great films.

If you had told me in the Seventies and Eighties that TV would be as edgy or edgier than most films, and more intelligently written than most films, I wouldn't have believed it. There's great stuff out there.