Top 1200 Popular Film Quotes & Sayings - Page 18

With Fever, the film was so made for the screen, and there's so much surround sound that was done for the film - enormous detail paid to that. I wasn't thinking video, because I didn't know how it was going to turn out.

I am still very surprised that I managed to make that film [Close Up]. When I actually look back on that film, I really feel that I was not the director but instead just a member of the audience.

When I make a film, I never stop uncovering mysteries, making discoveries. When I'm writing, filming, editing, even doing promotional work, I discover new things about the film, about myself, and about others. That is what I'm subconsciously looking for when shooting a film: to glimpse the enigmas of life, even if I don't resolve them, but at least to uncover them. Cinema is curiosity in the most intense meaning of the word.

I'll never forget the first screening at the Berlin Film Festival. As soon as the film ended there was an outbreak of booing, which made us look at each other with some surprise.

I'm just one of those people that if I sit down to watch a horror film, I put my hands over my face and I cry a lot and I don't see half of the film because I'm too upset.

I was obsessed with Batman as a kid. I did the film in part just to be near the Batmobile. But I also think [director] Christopher Nolan made a very fine, intelligent film.

When you are a part of an all ensemble kind of thing, with many composers in one film, you get the freedom to work on one, or maybe two songs, and experiment without thinking too much about the film.

I'm from New York, and yet I've done only one film executive-produced by Spike Lee and have never done a film that Spike Lee directed. I've never done a film that Keenan Wayans has directed, or Bill Duke.

I never thought I would debut in a Telugu film; it was my destiny to take up a film that, incidentally, was about destiny.

I did a film called 'Black Dynamite' that was very, very funny. That seems to be a film that's kind of a cult classic.

When we started Angels & Airwaves, we wanted to produce our art on different mediums, but the film was an ambitious one because we actually didn't go into it thinking we could make a big feature film.

'Black film,' that term allows studios to just marginalize a movie and say, 'We've made our black film. We've made our film with people of color in it,' as opposed to, 'I just feel like people of color should be in every genre.'

It's very important that a film that intends to play tricks on the audience... has to play fair with the audience. For me, any time you're going to have a reveal in the film, it's essential that it have been shown to the audience as much as possible. What that means is that some people are going to figure it out very early on. Other people not til the end. Everybody watches the film differently.

When I see films made from books, I make a huge effort not to remember the book. It's important to see the film as a film.

Vijay Sethupathi looks a film as a film. He never looks at what kind image he is going to get out of the character.

With 'Toy Story,' which is a fantastic film but is essentially animation, you get to make all your decisions beforehand. 'Jumanji' is shot much like any other action film.

In spite of their obvious differences, folk art and popular art have much in common; they are easy to understand, they are romantic, patriotic, conventionally moral, and they are held in deep affection by those who are suspicious of the great arts. Popular artists can be serious, like Frederick Remington, or trivial, like Charles Dana Gibson; they can be men of genius like Chaplin or men of talent like Harold Lloyd; they can be as uni versal as Dickens or as parochial as E.P. Roe; one thing common to all of them is the power to communicate directly with everyone.

I'm fascinated by film scores, especially film scores for children's movies because they have to be able to entertain an audience that isn't interested in music yet.

I like the movie 'Das Boot,' the German film made in the '80s. I found out it was a series that was made into a film for the U.S.

I think technology has advanced so far now that there are some cameras on the market that give film a run for its money. It's all about flexibility in capturing images, and digital or film, it doesn't matter to me.

Even in 'The Red Shoes,' a film that nobody ever has complaints about, there are enormous continuity bumps, and it doesn't matter. You know why? Because you're being carried along by the power of the film.

There's no need to make any film. The word 'need' is pretty strong. But if there's a purpose behind making the film, there can be a justification for it.

I was playing in a band and was approached to score an independent film. I had never done it, but had written instrumental music, so I figured I could do it. Turns out I loved scoring the film, and took on another couple films before realizing that if I was to be an effective narrative composer, I should study the craft of composition. I stopped taking projects and got a degree in orchestral music composition, and followed that with film scoring studies. Near the end of my degree studies, I started taking on student films as a way to get back into film scoring.

I'm planning some films in the U.K., and it will have pros and cons. It takes a lot more time to set up a film in the U.K., because you can't rely on much. In Greece, friends show up and bring what they can and you make the film. Well, that's a bit simpler than how it really is. But when you make a film with proper industries, it takes more time to synch all these things.

This film [ Blue is the Warmest Color] actually is the result of me talking with my producer Vincent [Maraval]. I gave him a bunch of ideas and then Vincent helped guide me and develop this particular film. I enjoy that rapport to have somebody else help guide me in my choices for the next film. The poetic way of looking at it is which project is going to choose me as a director.

I think film and television actually is a lot harder. Acting onstage is physically more arduous, but to get to emotional truth within a scene, it's much tougher to do it on film.

I'll need every ounce that I have to drive it through. Film and TV require that energy. Sometimes fight scenes can be pretty intense. When I was shooting "Heaven" it was truly guerrilla film-making.

All films are learning processes. I am still trying to work out how you make a movie. I didn't study at film school or any of those things. I didn't bother with film theory.

For the most part, the American film market has become very corporatised, even independent film to a degree, and because of the corporate management mentality, they want to take the safe way.

When you're in the process of becoming an actor, you think that you just need to get that one film. But once you get that one film, the stress increases.

I thought 'Deliverance' was a very good film. But it didn't have the success financially that 'Smokey and the Bandit' did, although that film made more money than 'Star Wars' in the first week.

I may have got a little carried away and many critics found fault with some aspects of the film, but as a coming of age film of a character, 'Vaaranam Ayiram' worked with the audience.

If I am not able to go to theaters confidently and watch a film then I don't expect people to watch my film also.

I couldn't be happier starting 2019 with this film 'Haathi Mere Saathi.' It's the first time that I am doing a trilingual film which I'm excited about. It will be my Tamil and Telugu debut.

I'll need every ounce that I have to drive it through. Film and TV require that energy. Sometimes fight scenes can be pretty intense. When I was shooting 'Heaven' it was truly guerrilla film-making.

Any actor will want his 100th film to be a commercial film, the biggest movie of his career.

The thing that fascinates me is that the way I came to film and television is extinct. Then there were gatekeepers, it was prohibitively expensive to make a film, to be a director you had to be an entrepreneur to raise money.

I believe that independent film making is the last frontier of creative expression available. So I'm always willing to lend a helping hand to a young film maker who's just getting into the business.

Any time there is a film in a 'foreign language,' in Spanish or Korean or whatever language, it's usually not an American film. It's usually from another country.

Yet as I cast my eye over the whole course of science I behold instances of false science, even more pretentious and popular than that of Einstein gradually fading into ineptitude under the searchlight; and I have no doubt that there will arise a new generation who will look with a wonder and amazement, deeper than now accompany Einstein, at our galaxy of thinkers, men of science, popular critics, authoritative professors and witty dramatists, who have been satisfied to waive their common sense in view of Einstein's absurdities.

I was always into film, but theater was my entry point. I always felt like film didn't make sense to me, as a kid.

For me, as an actor, going from TV to film was interesting because TV and film are two very different things.

Working as an AD and producer prepares you in the sense that you know what you have to do to make a film. But nothing prepares you for your first film.

I think tax breaks for diversity is a good thing. In film now, what happens is you get huge tax breaks if you can prove via your hiring practices and via casting, that the film is British, you get a tax break. Wouldn't it be great if you got a tax break because the film was properly diverse?

Even for the most difficult scenes, and there are difficult scenes in the film, and because Michael Haneke is such a great film-maker - I think a great film-maker is not only being inspired, but how to do it, how to make it as real as possible, knowing that it's not real.

I conceive of the film as a modern art form particularly interesting to the sense of sight. Painting has its own peculiar problems and specific sensations, and so has the film. But there are also problems in which the dividing line is obliterated, or where the two infringe upon each other. More especially, the cinema can fulfill certain promises made by the ancient arts, in the realization of which painting and film become close neighbors and work together.

When we started Angels Airwaves, we wanted to produce our art on different mediums, but the film was an ambitious one because we actually didn't go into it thinking we could make a big feature film.

I'm not a film star; I am an actress. Being a film star is such a false life, lived for fake values and for publicity.

The only difference between working on a huge-budget film and a lesser-budget film, is the quality of lunch and dinner.

Nowadays, if a studio assumes that his film is bad, there is always an executive that gets more nervous than usual and thinks that if they change the music, the film will become a masterpiece.

I prefer to make a film that people have a really intense reaction to than have a film that people feel ambivalent about.

Perhaps I shall not write my account of the Paleolithic at all, but make a film of it. A silent film at that, in which I shall show you first the great slumbering rocks of the Cambrian period, and move from those to the mountains of Wales...from Ordovician to Devonian, on the lush glowing Cotswolds, on to the white cliffs of Dover... An impressionistic, dreaming film, in which the folded rocks arise and flower and grow and become Salisbury Cathedral and York Minster.

It's a myth that you'll know the box office result of any film. I don't think anybody can predict a film's fate accurately, otherwise nobody would make unsuccessful or flop films.

When I write a film, the film gets handed off to a producer and a director and I go my merry way. With television, I am expected and contracted to stick around and actually produce what I've written.

I think it's important that your first film be your worst film, that one's life trajectory should go up.

I'm dying to do a masala Bollywood film with typical song and dance. But having said that, my character in the film should have her own point of view. I won't play a role who has no brains.

I'd like to think at some point instead of it being a woman's film or a man's film, it is just a great story, and both sexes can go and get the same enjoyment out of it.

I hope I've made a good film. And before you ask, a good film is one that I'd see three years from now and not cringe.

I'm excited about how books work in a digital age. When you read a book, unlike a film, you are decoding symbols in order to 'see' the story, so it is collaborative in a way that a film can never be.

I had a film career in the late 90s. And then I stopped having a film career because suddenly I didn't do anything.