Top 1200 Popular Film Quotes & Sayings - Page 19

'Saw,' in many ways, was like my student film. The first crappy student film you don't really want people to see.

Reservoir Dogs is a small film, and part of its charm was that it was a small film. I'd probably make it for $3 million now so I'd have more breathing room.

I just lucked into this weird, little obscure cameoesque film career. I just love being a part of film history.

Argentina is a bit tough to people. You don't embrace genre film in general. They are more like, in the film community, a bit snobby.

When I make a film - I direct my own film, I write my own script - that's what I want to hear from the audience. 'Oh, thank you, Jackie!'

I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.

I am not going to do a film based on a bad scenario just to make a big Hollywood film or work with Hollywood stars.

If you are going to do a film about the South Pole, the chances are that you will film it in Hawaii! Whatever is most difficult, you will get to do it.

You need a pulse in a film. If I see a film that doesn't have rhythm, it's like listening to music that doesn't have rhythm; it doesn't really work.

If one person doesn't like your film, if he's powerful, your film will never see the light of day.

Film has a magical process to it. The dailies, and the thing you see on your little film monitor, that's not the same thing that's going to be projected.

I'm a character actor but unlike a lot of character actors, I don't look radically different from film to film and there was a bunch of them at once.

I think with a lot of filmmakers, their first film is their best film because they had to think on their feet and solve problems with ingenuity.

'Sairat' is a film I absolutely loved. I have great regard for the movie and its film-maker. The movie blew my mind.

Short film: you can be poetic and you don't have to answer anything. You can make whatever you want. You have creative freedom with short film.

It's hard to make a living doing documentaries. Frankly, if it takes you five years to do a film, and that's the only film you're doing, you're in trouble.

I like to go back and forth between film and theater. When I do film, I miss theater and vice versa.

I can look at something that others (might not) and I can see the value in it. I can make that film a film that everybody wants to see.

I think they should make it a felony to criticise a film product. Particularly my film product. It's anti-American.

Kenya doesn't have much of an infrastructure for hosting a film of this scale. Our producer decided that for the film to really work it had to be in Kenya.

But I won't work with the exact same crew film after film because I feel the work would get a little complacent.

I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.

I think, to go to the bottom of it all, that the films I have made and my kind of film-making is a hybrid type of film-making - in that it isn't American, it isn't Italian.

I think it is always a long shot getting a book made into a film. Making that book into a film is going to be quite a challenge.

When we made the original 'Dhoom,' we wanted to make a film that would not bore us and wanted it to be just a breezy cool film.

A good project but a poor director will always make a mediocre film, but an average script and good director can make a good film, as he will put in everything to make the film look good.

Is there something in druggy subjects that encourages directors to make imitation film noir? Film noir itself becomes an addiction.

Early on everyone should do, every time they do a big film, they should do a little film. It really does keep you grounded.

I think you get out of film school what you put into it. If you don't care about making movies, film school will do you no good.

There's a different film being made in every mind. And of course, the star of the film is the mind, the personality, the self.

If you look at my career, I have already proved that after a big action film like 'Chatrapati,' I could do a cool film like 'Darling.'

In any art movement, the art has to move into a new phase - a filmmaker has a desire to make a film that is not like a previous film.

I would love to do a film with a lot of humor in it: a comedy with pain instead of a painful film with some comedy.

Film work can be very interesting, but it also can be awfully boring because who creates the film? The actors? No. It is the director. It's his piece of work.

If you're an artist, it's OK to put your money into your art. The advantage, in hindsight, is that you become the film, and the film becomes you; you breathe it.

Music will always be the heart and soul of a film, whether the film is star-driven or content-driven.

If it's a choice between doing a film and not doing a film, I'd rather not. But then, you remember that you're supposed to be earning a living and that it's your career.

Often with film, I find that you're just really getting to know a person. They're just starting to sink in, and then you wrap the film.

You can be moved by an animated film and not by a live action film. There could be great inspiration in and humanity in that animated story.

For me, the aim of making any film like this, any film about an artist, would be to send you back to the art.

My first film festival and my first film that I've ever been in, 'Martha Marcy May Marlene,' that was at Sundance.

I love Brooke Shields. She's developed into a wonderful actress and a wonderful person. We were all babies then in Brenda Starr. That's why when people say, "What did you think of that film?" I can't do what people do and say, "I hated it." I can't speak ill of a film, because it's so hard to make a film. Everybody thinks we're sitting by a pool peeling grapes, and this is not the case. It's hard. It's hard to do this stuff - and getting harder!

'100% Love' is not just a film I did; it actually changed me. The film made me confident.

I'll definitely say that, before film school, I didn't have much of a film-history background. I didn't know much about classic cinema.

In the south, whether it is a small film or a big film, everybody sees it. So, there is always something for everybody to come, see, and enjoy.

Honestly, there are so many things about structuring a story for film and telling a story for film that are really different from doing radio.

Watching yourself on film, if you've never watched yourself on film before, you want to go crawl into bed and stay there for a week.

No film survives because of a big name. If a film has to survive generations, it will survive on its content and craft.

Film-makers in Belgium are seen as arts and crafts makers. It is a small country. There is not really a film industry there at all.

I prefer film to TV because of the amount of time film affords you that TV doesn't (though theater is probably my favorite and the scariest place of all).

When I make a film, I never want the film to become a vehicle of social propaganda. If I wanted to do that, I'd make documentaries.

He considers the theatrical version of Fanny and Alexander an amputated version of what his original film was, and he doesn't really like the shorter film.

Superstar,' my first Gujarati film is a game changer for the Gujarati film industry. When I saw it on the big screen, I had goosebumps.

I'm not a writer. I think I can write short stories and poetry, but film writing, brilliant film writing, is a talent - you can't just do it like that.

Instead of doing a B or C grade Hindi film, I would much rather do an A grade regional language 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 problem when you edit a film together, when you shoot a film, you are drawn into the moment. You want each moment to be special and full of life.

We don't have a lot of narrative on TV or film, mainstream film, of brown queers. Latina queers, I can't think of that many.

If I was ever gonna remake a Peckinpah film, it would be 'Bring Me The Head of Alfredo Garcia.' That's my favorite Peckinpah film.

If one horror film hits, everyone says, 'Let's go make a horror film.' It's the genre that never dies.