Top 1200 Popular Film Quotes & Sayings - Page 16

While fashion is exciting because it changes all the time, it is also fleeting. Film, though, is forever. In a way therefore, film is the ultimate design project.

When I walk onto a film set, I become frightened and nervous. There's all this equipment, all these people, and most of them do things you don't know how to do. I didn't come from a film background.

What I love about film is that everybody often connects to something so different, and things you couldn't anticipate when you were making the film, so you just make it as honest as possible.

You give your film away to the audience once it's done. I never look at my films after the premier. The film needs to start its own history.

Harvey Weinstein bought our film, and he's an animal. He's got us out there campaigning and everything because honestly it's a silent black-and-white film.

In this land of unlimited opportunity, a place where, to paraphrase Woody Allen, any man or woman can realize greatness as a patient or as a doctor, we have only one commercial American filmmaker who consistently speaks with his own voice. That is Woody Allen, gag writer, musician, humorist, philosopher, playwright, stand-up comic, film star, film writer and film director.

I would like to say to as many people as possible that please go and see the film 'Jaana,' because we all have worked hard to make it a good film.

Small events and some songs and dance do not make a film. A film needs to have a proper structure and there has to be an output which would be relevant to people who watch it.

My tutor was a film director on the side, and she introduced me to film. She then put me in one of her short films, and it came out of that. That's when I fell in love with the process of making a film. After that, I was about 15 and I was like, "This is what I've gotta do." So, I started taking acting lessons, and then I applied to college to do acting. I got an agent, and it all just happened.

On some positions, cowardice asks the question, is it expedient? And then expedience comes along and asks the question, is it politic? Vanity asks the question, is it popular? Conscience asks the question, is it right? There comes a time when one must take the position that is neither safe nor politic nor popular, but he must do it because conscience tells him it is right.

But I don't think as film-makers it is our responsibility that every time we make a film we should be saying something. If you are entertaining people, that's more than enough.

We shot 'Party Girl' on film, and I remember being told, 'We need to get this in two takes because we don't have a lot of film in the mag right now!'

Every part of it is important; the film comes alive when you edit it, the film comes alive when you write it, the film comes alive when you act it, and the same with the directing. They're all the most important part at the time and that's why I enjoy doing it, because you're creating a story and every part is a very integral part of it.

I know it's a film and all of that, and it's a Hollywood film, but it kind of feels like this sometimes, when you're in pain and it hurts, and you're desperate. Or you are about to cross some moral line and it's so seductive and you just do... and all that.

I think people are willing to take more of a risk on an indie film, about character, etc...but at the same time, when I work on projects that are substantially bigger, in a way they do feel small. Even though the catering is way better and we actually have someone shooting with real film.... The budgets are bigger but the story still feels small, like an indie film.

Sometime ago, I went for a film festival in San Francisco and that's where I met film director Warren Foster and actors Robert Parham and Randy Taylor, by chance.

Writing a film - more precisely, adapting a book into a film - is basically a relentless series of compromises. The skill, the "art," is to make those compromises both artistically valid and essentially your own. . . . It has been said before but is worth reiterating: writing a novel is like swimming in the sea; writing a film is like swimming in the bath.

I would love to say something really cool, because I did film studies. So, like, a Jean-Luc Goddard film - something like that. But I genuinely would love to be in 'Titanic.' I'm such a loser. That's, like, my childhood film. Like, I love it.

Box office figures are not something that can decide the success of a film on its own, but they are one of the many yardsticks that help me measure how well a film has been received.

You shouldn't think about the fate of the films. The film might succeed or fail, but your performance must be good. You should work hard for every film.

I went to the University of Toronto to study the history and theory of film, in the back of my mind thinking I'd go to NYU film school and see if I could make a career of it.

Sometimes I work on film sets. I've done this for 40 years. I always wanted to photograph on the set of an Ingmar Bergman film. Unfortunately, I never had the opportunity.

I think it's like the '60s - we're going to see another revolution in film where these new filmmakers stand up and take ownership of what film is and mould it into what they want.

One thing that the audience, and perhaps critics, aren't aware of is that, especially in a film like 'Moonlight,' you always shoot a lot more footage than makes the cut of the film.

Dolly Ki Doli' excited me because it has unique characters. Though it is a smaller film and without a big star, it is still a mainstream film.

When a film is reviled, you open a film and people say "Oh, it's the stupidest thing, it's the worst movie." You think: oh, nobody's going to ever speak to you again. But, it doesn't happen. Nobody cares. You know, they read it and they say "Oh, they hated your film." You care, at the time. But they don't. Nobody else cares.

I did a short film called 'Disco' and won an award for Best Supporting Actor at an indie film festival, and that was nice. Hopefully there's lots more to come.

On an average, any short film will cost at least Rs. 60,000. Apart from film festivals, where is the avenue to get that money back?

'Gaana Bajana' gave me an opportunity to experiment with my looks. I played a tomboy in that film, a role that I hadn't essayed before. I have no regrets for having done the film.

After the blockbuster 'Magadheera,' I made a film with comedian Sunil as the hero. If I am interested in making a film - big or small - I will go ahead and make it.

I'm very attracted to directors who want to experiment. The thing that attracts me the most are people who are trying find a language that is correct for their film, for that specific film.

With 'Aurangzeb,' I just knew that the film wasn't going to work, though I think it was one of my most underrated performances. I did the film too early in my career, but I stand by it.

Filming movies and TV are vastly different. Film is more of slower pace. You usually have more time to develop characters, and it sometimes takes up to 3 months to film one movie. Sometimes you'll spend half the day filming one scene. TV moves much faster. It takes about 10 days to film an episode.

I think for my casting of 'Pati Patni Aur Woh' the makers saw my ad film which I did for a brand and they decided to cast me in the film.

I worked with Jim James on my film 'I'm Not There' - he sang 'Goin' to Acapulco' with Calexico backing him up. We just hit it off, and it's such a beautiful moment in that film.

At Temple University, and I'm sure this was the way in a lot of film classes, comedy was not an option, and not considered a serious form of expression. You had to make a film about an issue.

I have had several offers to make the book into a film. I don't know if the message could be accurately transmitted, and so I have been somewhat hesitant in granting film rights.

My goal is not to make popular things. My goal is to make the things I love as popular as I can make them.

Remember that film 'Sliding Doors,' when John Hannah woos Gwyneth Paltrow by reciting Monty Python sketches? I can tell you now that doesn't work, so that film's wrong.

Film as dream, film as music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames a second, darkness in between, the optic nerve incapable of registering darkness.

I guess there are certain conventions that come with film and with scoring film. So maybe one of those is menace in a lower register. It's trying to evoke some sense of chaos and adventure.

I love theatre - it's where I started - and I've directed a play myself. I'm not sure if I want to direct a film, but certainly, as an actress, I'm always thinking, 'Surely this must be my last film.'

It's very cool to be able to say that my first real film was 'Footloose' and my second film I got to star alongside Tom Cruise and Catherine Zeta-Jones.

I'm not trying to be self-serving, but you know, you get to Hollywood, and if you want to make something big and loud and dumb, it's pretty easy. It's very hard to go down there and make a film like 'Sideways,' which I thought was a great film. They don't want to make films like that anymore, even though that film was very successful.

Television is very different than working on film. With films, you get to develop a set of characters, and then, at the end of the film, you have to throw them away.

So I prefer to do the entire music for a film. And when I'm doing the background score, I can weave the whole film together in terms of themes and songs for a good cinematic feel.

It's always fun to get to do independent film because I believe that that's the life blood of film. It's about writers and directors who truly have their own vision, and that's hard.

When you're doing a film and the majority of the film is cast black, for me, it's most important to get people to view those movies as just movies, as just good movies. At the end of the day, regardless of the color of the cast, we're all doing the same thing in this business: trying to make a good film.

There's so many people that are interested in film and especially in terms of the technology side of film, that suddenly the fruits of everybody's labor is really starting to manifest itself all across the planet.

'Biutiful' is a tough film. It doesn't make concessions to the vulgarity of light entertainment. It's not the kind of film that you see every day in the Cineplex. But as an artist, it's the thing that I needed to do.

We made one film called Thy Neighbor's Wife in which I got flogged at the public whipping post for adultery. I did my best acting in that film, I guess.

I learnt a lot in government, and I've learnt a lot since leaving government. The kind of journey of being in government is that you start at your most popular and least capable, and you end at your most capable and least popular.

Apart from my film, I am producing TV serials and plan to make more films, too. Mine is not going to be one-film-a-year production company as such.

I have never been someone who chooses a film according to the language. Since I am comfortable with Tamil, Kannada and Malayalam, the scope of the film is all that matters to me.

Ever since I made the short film 'Black And White,' which had almost no dialogues, the idea of making a silent feature film fascinated me.

To make a film is easy; to make a good film is war. To make a very good film is a miracle.

Apart from the highs and lows of when your film releases, there's a strange, addictive quality that making a film has because of all that drama. There's so much that goes on, and we miss it when it's over.

You become a film critic because you're interested in film. I don't know whether knowing so much about cinema leads you to make better films, but it certainly can't hurt.

The most important film I made, in terms of its subject and the great responsibility I had as an actor, was a film I did about the founder of Pakistan called 'Jinnah.'

'Ashes of Time' was my third film, and as a young director at that point, it's not very often that you have the chance to make a big martial arts film, so of course I jumped at this opportunity.