Top 1200 Movie Making Quotes & Sayings - Page 12

After directing movies, I respect any director in this world, because making a movie as a director is tons and tons of work.

Red Dawn was really the most fun I ever had making a movie, because I love Westerns, and I love the idea of being a tomboy, and riding horses and shooting guns.

The reason why I wanted to direct is because there are personal stories that I want to tell, but also because I love every part of movie making - from the wardrobe to the set decoration to cinematography.

No studio in Hollywood wanted 'Cold Mountain.' None. No one wanted 'Ripley,' no one wanted 'The English Patient.' That tells you there isn't really an appetite for ambitious movie-making out there.

I never know going in if I've even got a movie to make. Once you start making a film, you hope there's going to be enough material! My job as a director is always to push for more.

In making a movie, you're part of a big machine. Even in a small movie there are still so many people involved in the process, and it costs so much money to make. There is so much more invested in it for a lot of different people, so much money is sunk into it that they usually want some guarantee or promise that it's going to be able to do something on a financial level. There's just a lot more messing with you in film. I love movies and I love to watch movies and being a part of the whole film experience.

I'm not sure if my story will become a movie. Some of my western friends sent my story to people they know in the movie industry. But one consistent response was there aren't any main western characters in my story, so it's unlikely to be made into a movie in English.

One of the things that's great about New York is that it is not a one-industry town. It has education, academia, the service industry, arts, publishing, theater, politics, fashion, finance, as well as movie-making.

It's easy to sort of put a sheen across humanity if you're making a film for people who want to escape their own problems. But sometimes a movie can, in the most cathartic ways, expose those problems.

I'll spend the rest of my life chasing that feeling I had on 'The Grey,' because I think we're all aware that, first and foremost, we were having an adventure, and we were also making this movie at the same time.

When I did 'The Great Escape,' I kept thinking, 'If they were making a movie of my life, that's what they'd call it - the great escape.'

My first film was a movie shot in 1974. I was 18 on that movie set. It was called 'Big Bad Mama.' I turned 19 on the next movie I worked on, which was a black 'Blazing Saddles.' I worked in the art department. It was called 'Darktown Strutters.'

Maybe by his second year in Hogwarts, Harry Potter will learn the trick to making a movie this good, but don't bet on it. The Lord of the Rings: The Fellowship of the Ring is one of the best films of the year.

Making a movie is, for me, like painting. I just enjoy the care that goes into every brushstroke and the choice of every color. I enjoy the intensity of it.

That's why I have to be a fiction writer, because I can't remember what just happened or where I went last week or what movie I just watched with my husband. I'm better off just making things up.

Back then, all the networks were still making a movie a week, virtually. So I did five of them that year. So it was just a nonstop... '92 was a great, nonstop ride in Vancouver.

With every movie, I am trying in my own little way to do whatever I can to change the way female characters have been presented and how an actress that comes from a family outside the industry is making an impact.

I wouldn't say no to becoming a Bond girl. Making it in Hollywood has been my dream ever since I was little, watching Marilyn Monroe movies. To star in a Bond movie would be bliss on a stick.

The one thing I loved so much about making 'Pitch Perfect 2' - especially in comparison to a movie like 'Ten Thousand Saints' - is you can go and be yourself, and you just know that all your weirdness and craziness and imperfections are completely embraced and accepted.

Any time you're making a movie, all you want to do is reduce the variables of things that could possibly go wrong. I think that's why we work with the same people over and over again.

I love the process of making a movie so much as an actor that I can only imagine I would love the process of being the director.

Making a movie like 'Felony' is hard work because you're really putting your own ideas on the screen. You can't hide behind some other person's script; you're saying, 'This is my brain, and I want you to know what I think'.'

Every movie, especially when you get involved... takes something out of you. You learn something, but you give something to the movie. And after the movie, if the experience has been intense and a true experience, you're a little different afterward.

The idea of doing a period movie, some people say, "Isn't it odd that you're doing a period movie? That's a change of pace for you." And, I'm like, "Not really." When you're doing a science fiction movie, it's almost exactly the same.

When I auditioned for 'Pitch Perfect,' I didn't know it was a singing movie. I didn't read the script. I go to the audition, and I'm like, 'Oh, it's a baseball movie.' But then I'm reading the lines, and I'm like, 'This doesn't seem like a baseball movie.'

When you work on a movie, especially an independent movie, it's a lot of work to make it! It's not just our job as actors - so many people are working so hard, and even the littlest movie takes a lot of work.

Making a movie is like getting married. You're like, "Am I going to marry this project? Am I ready for that kind of commitment?"

As a director, when you cut scenes from a movie, you do it with the idea that it is making the story move forward and progress. Sometimes, you don't realize that something is actually a sidetrack for the story, or it takes the tension out of a scene.

Making a Hollywood film you don't have a very big movie because they have a Safety Captain and insurance people on the set. They have to check first. 'Don't do it. Let me check. Make sure everything is safe.'

The whole question of fiduciary responsibility is a very old concept. You could make a movie about someone making that rule at any point in history, and within a few months, it will turn out to be timely.

I've tried like hell to make bad movies good, and I can't. Maybe Marlon Brando has been able to do that at times. But even he has a hard time making 'The Appaloosa' a good movie.

'Red Dawn' was really the most fun I ever had making a movie, because I love Westerns, and I love the idea of being a tomboy, and riding horses and shooting guns.

I definitely pay attention to details. I think one of the hardest things about making a movie is that it can be scrutinized over and over again. If anything just isn't right, it's going to take you out of the film.

I think [The Outsiders] really forged who I am as an actor, and it's one of the reasons why I keep being drawn to big ensembles where I'm surrounded by strong, successful actors or personalities. Because that was my initial foray into movie making.

Everyone feels a sense of ownership in creating a Lynn Shelton movie. Lynn chooses amazing people - including the crew. Every person there is committed to making the film the best it can be.

That Ted Turner is a genius...He has taken what used to be a carnival side show and turned it into a gold mine. Yes - wrestling has become prime time for the masses. He's making these giant men into millionares with movie star status.

I want to do things that are very outside of the box, and I want to do movies that no one else can do. If someone else can make the movie that I'm making, then I shouldn't do it.

When you go to a movie, you don't care for one Oscar, really. Do you care if a guy got a Oscar on the shelf or is it a good movie? And, you don't care how much the movie made.

Wouldn't it be great to see a line in all movie credits that truthfully says, 'Nobody was harmed in the making of this film, and at the cast party, all animals got a belly belly belly rub.'

On the first movie we got good reviews, but we were still dealing with genre stuff. It's going away. Judge the movie - is it a good one or a bad one? We know we made a great movie and it's being judged for just being a good film.

The way I go about making a movie... even the ones that are interview-driven, I go into them not knowing what's going to happen, and feeling my way through.

I think that building any product that has a lot of user loyalty is a bit like making a sequel to a great movie or video game - people generally want 'more of the same thing, except better and different.

The contemporary notion that it's somehow inherently bad for a film to be 'talky' has done grave damage to the culture of American movie-making, enough so that a growing number of people, myself among them, have all but given up on Hollywood.

'Chronicle 2' has become this question of, 'How do we all make a movie that we all respect?' And that's true to what 'Chronicle' is. There's no one at the studio who wants to make a bad movie. They all want to make a good movie just as much as I do.

Chronicle 2 has become this question of, 'How do we all make a movie that we all respect?' And that's true to what 'Chronicle' is. There's no one at the studio who wants to make a bad movie. They all want to make a good movie just as much as I do.

I know a movie and a book are two different things and you are going do different media in different ways. No author can want a movie to be exactly like the book because then it will be a bad movie.

When I watched Michel Hazanavicius' 2011 French film 'The Artist', I was spellbound and wondered if such an attempt would ever be made in India. Dialogues and songs being such an important part of our movie making culture.

Movie making is not like other art forms, like painting, or writing a novel, because that can be digested or interpreted... It takes two years to make each one of these, and it's always judged on money.

I don't want to talk about anybody else's movie, but I understand fan skepticism when you're like, "Oh yeah, a Godzilla movie." Which, by the way, our first movie was Batman Begins and was not dissimilar from questions and conversations from people about where the Batman franchise was, so I get it.

It wasn't until after living in California for many years that I realized that you don't believe what anybody says, ever. Whatever they say, they're just making a movie - they just like the way they sound.

Let's get a couple of things straight. It hasn't been years and years since I made a movie. I'm not coming back from the dead - I've just had two kids! I have no intention of retiring, but I do think it's impossible to do movie after movie, because there aren't that many good films made.

'Insidious 2' is a direct continuation of the first movie. We literally pick up from where we left off at the end of the first film. And whereas the first movie is a twist on the haunted house genre, the second movie is a twist on the classic domestic thriller.

Let us say in the pocket of one of my old coats I find a movie ticket from many years ago. Once I see the ticket, not only do I remember that I saw this movie, but also scenes from this movie, which I think I have entirely forgotten, come back to me. Objects have this power, and I like it.

[10 Things I Hate About You] was the most fun I ever had making a movie. Everyone got along really, really well from day one. It was like summer camp.

With 'Hail, Caesar!' it was about all the skill sets I had to learn, but each movie requires a different way of working. You're a piece in a new world, and there is always a difficult part within that world. For me, it's not consistent from movie-to-movie, each film has a central challenge.

I remember the first horror movie I saw - I was five years old; it was a direct-to-video movie called 'Truth or Dare: a Critical Madness,' which is sort of badly fantastic or fantastically bad. And then 'Gremlins' was an early movie that I saw, and 'Nightmare on Elm Street 3.'

It's depend of the communication, I think it's very important to let the director make his own vision of the character, not making a studio movie. Look the Dark Knight it's totally the vision of Nolan.

[Virginia Madsen] big part in that movie ['Class'] required her shirt to get ripped off, and looking back, it couldn't be a more egregious, vintage, lowbrow, 1980s Porky's-esque, shoehorned-in moment. Like, you would never have that moment in a movie that aspired to be what that movie did today.

If you ask any of us which movie we were making when one of our kids was born, we'll be able to tell you instantly. It's like our family lives are permanently woven into the movies.

Wouldn’t it be great to see a line in all movie credits that truthfully says, “Nobody was harmed in the making of this film, and at the cast party, all animals got a belly belly belly rub”.