Top 1200 Love Films Quotes & Sayings - Page 18

I never did films for the money or because I needed to buy a house or car. I do it because I love my job.

I love 'Jungle Book' and all the classics growing up, but what I learned about this is that these Disney films are basically classic fables that have been told for thousands of years.

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.

Even though we've written epic poems and made incredible films about love, I still don't think anyone can understand what it is, or why it means everything.

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

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.

When you're talking horror or sci-fi, you're working in a genre that has loosely certain thematic elements, or, you could even call them rules. But rules are there to be broken. I think that young filmmakers should go all the way back to the history of horror, from silent films like "Nosferatu", and through to today's horror films, so they understand the history of horror films and what has been done. Understand that, and then add something new or original.

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

Screaming. Did I mention the screaming? Screaming is usually associated with horror films and roller coasters. This is why I usually look like I've just watched a horror film on a rollercoaster. Kids love to scream. Frightened, happy, bored. They scream. I've actually learned to love the sound of a vacuum cleaner. It's just so peaceful.

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 love films like 'Deliverance' where you can watch it over and over again and decode all of its many different meanings.

I love SXSW. I've made three films; they've all premiered at SXSW.

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.

I haven't got anything against films that are about the minutia of relationships or customs, but I love extremes. I love taking a bunch of characters and it usually is a bunch of characters, and you throw something at them that's usually extreme, like a bag of money, or you send them out to explode a nuclear device on the surface of the sun. And those extremes are wonderful for drama.

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

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 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.

I'm a huge fan of 1930s horror - Universal films. I grew up with them and I just absolutely love them.

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

I have a long love of superhero films, and I'd been saying over and over again to my agents at CAA that I'd like to do one.

I love gritty drama. I'm passionate about films and drama that make you think - hard-hitting, gravelly characters.

I love films that test cynicism and inspire you to do better in your dealings with your family and with strangers.

I would love to get into feature films; I'm willing to do an action flick, I'm willing to do a romantic comedy.

I am in love with Kareena Kapoor. I have watched all her films and buy brands that are endorsed by her.

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.

People either know Alan Rudolph and love every single one of his films or they don't know him at all.

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

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

Usually, watching yourself is pretty awful. People think we all love watching our own films. We don't. We cringe away from it.

Most Pixar films are better than most live action films.

I love Hitchcock's films because even though you knew who did it right at the beginning, he still kept the audience engaged till the last frame.

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!

I love doing features, but it's a very different ballgame. Sometimes I yearn for short films again, working with a small team, getting my hands on the clay.

We've turned down multi million dollar films, simply because we liked the film better. We have the luxury to do so - we have projects that make the money, and others that we do for love.

I've always loved... actually I didn't always love horror films. I started out and I only liked comedies and dramas.

I've made six films since I made Secrets and Lies but I still live in London and I'd love to do theater.

I would love it if my films made a lot of money, and may I say that 'The Yards' is the only one that's lost money.

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.

I love films like Deliverance where you can watch it over and over again and decode all of its many different meanings.

Communists love to make films about composers, because composers compose music and don't talk subversive things.

Communists love to make films about composers because composers compose music and don't talk subversive things.

Let me be very frank. I make films keeping within the mainstream and my cinema is popular cinema. I love it this way.

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.

I absolutely love genre movies. When I was a kid, I was really impacted by genre films and cult classics.

As long as interesting work will find me, I will love to do more Bollywood films.

I love making things, like software, and films, and laughter. And working with Gus Silber, to make the Funny Business book, has been a fantastic journey.

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'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.

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.

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 love films where the world seems to be going a bit faster and everything's a bit brighter and more in focus.

I love to not work. I love to go to the movies, I like to travel... I think I work maybe half the year. Sometimes, people think I've done three films in a year, but it's because I did a participation [cameo?] in a film. But I work for half a year, no more.

Do what you love. I've seen so many people through the years calculate and speculate on what films to do in order 'to make it.' And every time those projects crash and burn.

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.

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.

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

I think we shouldn't be shy of thinking that we can interpret text like a movie again, depending on the point of view and what we do with it more than anything else. Of course a lot of remakes of important films, particularly of horror films, they suck.

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.

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.