Top 1200 Making Movies Quotes & Sayings

I mean, I love L.A. - I love living here. But I wish that we could make things without the need to hit a home run every single time. It's a unique thing to Hollywood that if you don't do that every time, then you're considered a failure. But it's like, 'Well, are you making movies to be successful? Or are you making movies to learn something?'

It’s funny, I started by making fake American movies, The Transporter and stuff like that. I was shooting in France, but everything was in English. But then afterwards, I was looking at real French movies like the Jacques Audiard movies.

It feels like there are two very different parts to making movies. There's the making of it and then there's the putting out of it - and I like the making of the movies a lot more than putting it out into the world.

If there's specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons: I can't change my gender, and I refuse to stop making movies. It's irrelevant who or what directed a movie, the important thing is that you either respond to it or you don't. There should be more women directing; I think there's just not the awareness that it's really possible. It is.

Financiers don't support their directors to cast properly. They don't have the vision of an artist. They're casting to spreadsheets, and it's making movies very mediocre. The movie business used to just be called the movies. Now it should be the business movies.

I believe in making movies very inexpensively; I think that way too much money is spent on making movies. Enough movies are being made, but not enough experimental ones.

We started making movies when we were really young, in the fourth grade... if you can call them movies.

People follow my movies for a reason, and that's because I believe in them, and I don't want to just make movies for the sake of making movies.

In Europe, where we have all these different forms of financing and cultural funds and systems like that, it's a good mixture of supporting artists to make movies. But, on the other side, everyone still wants to make money making movies. Again, even in the European film business, it's expensive to make movies.

I was just making movies to make movies. I was so full of anxiety about becoming a filmmaker that I kind of lost the idea of why I was doing it.

My existence is about making movies, so I've just got to rock and roll with the punches. You want to make movies on telephones, I'm there.

I did two movies that were arthouse movies; they were critically successful but made no money at all... but after making those movies, I thought, 'I wouldn't watch my own movies when I was 16, and my buddies where I came from wouldn't watch my movies, because they were boring.'

Making movies was more a reaction to not being chosen for sports. Other kids were out there playing at whatever; I was off making something blow up and filming it, or making a mould of my sister's head using alginating plaster.

I got into film-making because I was interested in making entertaining movies, which I felt there was a lack of.

I wish I was making movies back in the days when John Ford made movies and you were a director under contract to a studio. John Ford had years when he made three movies in a year.

The truth is that I didn't start out making commercial movies. My films were not film festival movies with the possible exception slightly of 'Super,' but I was able to nurture my gifts through the works of artists making lower budget films that needed a place and an outlet.

I was going to make movies. I was the one in the family who was always rolling the video camera, making movies of my brothers around town, and then screening them for my parents. I still would love to make movies someday... that's something that really means a lot to me, and I know I'll have the chance to do it one day.

I get bored very easily. I find most movies boring. I go to movies and ask, "How do they stay awake making this?"

Still, you can't complain about the number of movies being made. Never have the means of making movies been so accessible to so many. The problem is getting bodies into seats.

I had some great times doing competitions, but I have always been more into making movies because making movies is more about art and expressing yourself in a creative way.

I feel very protected when I see a movie. That's why I like making violent movies or radical movies.

It's too expensive, that's the thing nobody wants to talk about. It is too expensive to make movies. That's not true, it is too expensive to market movies. Making movies is not.

The movies have got more corporate, they're making fewer movies in general, and those they are making are all $200-$300m tent-pole releases that eat up all the oxygen.

Making movies is a dangerous job. Because you are always the one who stands at the center of the universe when making movies.

Why do I continue making movies? Making movies is better than cleaning toilets.

I've been making movies for a long time. The Japanese way of making movies has become second nature to me. To get away from that, I really try to surround myself with younger staff and approach making movies not like a veteran of the industry but always as a beginner and a rookie.

I started off making backyard movies. I think it began in fifth grade - I'd get the friends together and we'd make little home movies. I always wanted to make movies but I didn't know how. It was always something really fun to do.

I'm excited that 'The Good Guy' is getting distribution because indie movies they're not - people ran out of money and they're not making these movies anymore. It's all superhero movies or real obvious tent pole studio films.

I came to New York, and it was a really cool time. People like Jim Jarmusch and Spike Lee were making their first movies, and they were making movies that were personal narratives.

I was making a lot of 8mm home movies, since I was twelve, making little dramas and comedies with the neighborhood kids.

I'm not interested in making 'black' movies. I'm interested in making movies that reflect reality as I perceive it.

I certainly think that - especially with the challenges of making movies now, where you're making them in 20 or 30 days - the more experiences that you can get on those kinds of movies, where you have to use a lot of your problem-solving skills that maybe you wouldn't get on a film that takes three months, that, to me, has just been amazing.

I was going to make movies. I was the one in the family who was always rolling the video camera, making movies of my brothers around town, and then screening them for my parents. I still would love to make movies someday that's something that really means a lot to me, and I know I'll have the chance to do it one day.

When I'm on the road making a movie in another city, on my day off, I always go to the movies. I love going to the movies. You get a ticket and sit there, and it's very interesting to be around people who aren't personally invested in you, in any way. They're just going to the movies.

There are a bunch of different movies I feel that way about. However, there is a debate because as you may know after MST3K ended there have been things like Cinematic Titanic that are the children and the grandchildren of this way of dissecting movies and making fun of them and in a way celebrating the absurdity of those movies as well. There are certain movies that sort of fit into the MST3K paradigm which is hidden gems, these weird horror/sci-fi/fantasy movies.

I fell in love with movies as a kid. I had been making shorts and making TV and making commercials and it's such a difficult, weird process of trying to wing your first feature, especially if you're not going to go and just have a Kickstarter and do it on your own.

In my case, I feel very protected when I see a movie. That's why I like making violent movies or radical movies.

My father is so in love with making movies, and he'sso charismatic about it, that it's hard to be around him withoutwanting to make movies.

If you're a film studio, you're making a movie for a foreign market. You're pursuing ideas that travel well. It changes the movies we see and how movies are made.

I want people to see my movies. My talent, my sensibilities are what people want to see in the movies... While I have the talent to make the kind of movies people want to see I want to continue to do that, keep making big pictures and make what I love. I’m really just making the films I want to see. There’s not a strategy.

My perception of making a movie before I started making movies was that it would be like “Spy Kids.”

I aspire to eventually be making my living by making movies.

I think a lot of women feel like they have to choose between making movies or making a family.

It seems crazy moving from making little movies to making like literally movies with Marvel, which are like the biggest movies that they make.

I think making small movies reminds you of the effort. When you make big movies, the effort is to fight for freedom. When you make small movies, the effort is making the day, making the budget, and it's great, too.

If there's specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons: I can't change my gender, and I refuse to stop making movies.

I never saw myself as a director. It's certainly a second language but making movies for 40 years, you pick stuff up. However, this style of making movies, this documentary style, is easier for me because I gather a lot of material and with an editor, write it on screen. You try to write based on what you shot.

I love movies; I grew up loving movies. I've always loved movies. I never thought about making movies until I took art classes and then I started studying different artists. As you study paintings, you see light and shadow, of course - Rembrandt, Eugène Delacroix. You start to understand the relationship between people and art, and images. For me, between movies that I watched and art, it was like, I'd love to make moving art. Moving pictures.

I always wanted to direct movies. That's what I set out to do. When I was a little kid I just dreamed of making movies, and I went to film school [at Northwestern University].

I've been obsessed with making movies since I was 15. I watched a lot of movies when I was young, and I decided that I wanted to do that because I was a passionate kid about watching movies.

I grew up loving action movies and films that were set in supernatural, unimaginable places. So I take being a woman in the film industry who is able to do action movies very seriously because I'm making the kind of movies that I wanted to watch as I was a kid and that inspired me and are the reason as to why I am here.

I don't like movies that are too manipulative. A lot of movies thrive on really pushing your buttons and making you hate the villain.

One thing we haven't mentioned is something everyone should understand very clearly. Look at the budget that was invested in 'Avatar': who in China has that kind of money to spend on making a movie? So we as Chinese filmmakers should work together to make Chinese movies that can compete as best we can for Chinese audiences, not make lousy movies, but make the best we can for that audience. Concentrate the money, the talent we have on making good movies [for China].

My filmmaking background has really just been making movies with my friends since I was 12 years old. That's how I feel I learned how to tell a story visually, by just going out with a video camera and making movies with my friends and family.

I always wanted to be a stay-at-home dad making art, making movies.

Pretty early on in making the first movie I realized that this is what I wanted to do. I felt like by that time I just found my niche, like this is what I was supposed to be doing. So I completely submerged myself into the world of watching movies, making my own movies, buying video cameras and lights. When I wasn't making a movie, I was making my own movies. When I wasn't making movies, I was watching movies. I was going back and studying film and looking back at guys that were perceived as great guys that I can identify with. It just became my life.

I'm really tired of making these huge, over-$100 million movies where they literally mean life and death for a studio. It's really rough making these expensive movies. Everyone is hysterical.

My way into making movies - into making things is general - has been through performing.

It's funny, I started by making fake American movies, 'The Transporter' and stuff like that. I was shooting in France, but everything was in English. But then afterwards, I was looking at real French movies like the Jacques Audiard movies.

I'm not making every decision due to my children. But I do hope they never see some movies I'm doing. But I do want to do more family-friendly movies.