Top 1200 Woody Allen Film Quotes & Sayings - Page 19

I was about 6 or 7, I would have said I wanted to be an actor and an artist. And that just kind of kept honing itself around film and getting closer to film.

When I am playing the protagonist of the film, before the release, I feel a certain pressure because I become the face of the film, then, and I have a major responsibility.

I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.

In film, movies schedules are based on three things: actors availabilities, when are sets being built, when you can rent the place youre going to film in.

There is also an artistic element which is lead by the film maker. Issues of what is reality and objectivity are as always relevant as someone is going to edit the film.

Nothing is more wistful than the scent of lilac, nor more robust than its woody stalk, for we must remember that it is a tree as well as a flower, we must try not to forget this.

I revisit stories and see if they are still living and breathing, because if you do a film you live with that story for another year. I can't do a film in six months and scoot.

American film isn't just film and glamor and fame and the lives of people who are fortunate financially. Those aren't the only stories in this vast nation. That's my mandate.

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

Willie Roaf kicked my butt a couple of times. Larry Allen was a guard, but one time in San Francisco he took me with one hand and threw me out of the play. Walter Jones was pretty tough, too.

I went to film school when I was 17, and of course when you are very young you think that there is nothing else in the world except film. At some point I started getting hungry to see something else. For five years I didn't make any films, I was traveling around the world, writing for newspapers, working in theater, working in opera, I thought I would never return to film.

The film I think was a good film for what it was designed for. It was for kids. Unfortunately the critics slashed it before it even started but that is just the way the cookie crumbles.

I think the British industry is set up to support British film, if we make films that enable them to support it. If you don't make a commercial film, distributors can't get behind it. If they don't get behind it, the film doesn't do well.

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 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 was very happy to learn Oliver Stone had decided to make a film about Edward Snowden and believe this is a powerful and inspiring film.

Scent is very important. Strong fragrances suit some men, while citrus types suit others. I like my men to smell fresh and woody, but also like a man.

After I read the story of 'Dangal' and before the film released, I called director Nitish Tiwari asking him if he had any good script. He told me to wait for some time. So we had three-four sittings, and this film, 'Chhichhore,' came to him. The film did not have superstars, but I felt that this is the script that needs to be told.

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.

The first film that I saw of Shammi Kapoor was 'Bhramachari.' I instantly fell in love with the film and connected with Shammiji. His style was natural and unique.

One does not have to get frustrated with getting an opportunity, whether it is film, short film, web series or TV shows... As an entertainer, opportunities have expanded.

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!'

It was the beginning of film for television. So we had all of these great opportunities. Northwestern was probably the only major film school of its kind at the time that was graduating anybody important.

When I did my first student film, it was a ten minute film and it cost $U.S.4,000. I worked three jobs to pay for that and I haven't really slept since.

The thing is, as a film director, you're essentially alone: You have to tell a story primarily through pictures, and only you know the film you see in your head.

There's guys that don't need to play with the ball. Tony Allen doesn't need to have the ball to be effective.

I would rather portray the hero if it's a really great film. All my favorite fictional film characters are heroes, such as in 'The Last of the Mohicans' and 'Robin Hood.'

The parts of a film should be in proportion to the whole, and a long film pasted together out of quick little scenes makes me dizzy.

No critic writing about a film could say more than the film itself, although they do their best to make us think the oppposite.

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.'

This is indeed not only relevant to Documentary but is evident is most type of film making. The film often mirrors the experience, understanding and politics of the director.

When you watch a film, a huge part of it is the music and the coloring and everything that comes together to create such a unique film. So, reading the script, I had no idea what it was gonna be.

Most young people make films to be accepted, to be discovered, when in fact that was the last idea with the group I went to film school with. To be discovered was not our intention. Our intention was to tell our story our way, and make our own mistakes and learn from film to film.

It proved to be pretty impossible to get funds for a feature film in Finland. It's still small, but the film industry was miniscule at that point in the early '80s.

If a film promotes communal harmony, which for me is beyond religion, I am happy to work on it because the film's premise is in line with my beliefs.

'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.

My dad made a film called 'Willow' when he was a young filmmaker, which screened at the Cannes film festival, and people were booing afterwards.

I approach every film as my first film.

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.

The audience is making the film and not the film-maker.

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.

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.

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.

Some things definitely work better on film than in books. Introspection is great in books but it doesn't work on film. Anything with high intensity, whether it's a love scene, a car chase, a fight scene - those things work so well on film and oftentimes they can tell a much broader part of the story.

Scooby's the greatest cartoon character ever. He isn't cute like Mickey or smart like Bugs or fearless like Woody and Buzz - he's a talking dog who's more human than I am. It's his humanity and imperfections that make him special.

I would rather portray the hero, if it's a really great film. All my favorite fictional film characters are heroes, such as in "The Last of the Mohicans" and "Robin Hood."

I've always felt that, although Truffaut was greatly revered and admired, at the same time, in terms of film and how much he loved film, he was underestimated.

I applied [to film school] figuring, "I need to find some structure for myself. I need to find a way to figure out what kind of filmmaker I want to be." And that is what film school provides you with. It'll teach you the basics of how a production works and the technical side of how to put everything together, but you could also learn that by working on film sets.

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.

The makers of 'Ushakaal' said that if I don't do the film they would shelve the project. I didn't want a good subject to be shelved because of me so I went ahead and did the film.

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.

A film you can explain in words is not a real film.

We petitioned to get access to film [Suffragette] at the Houses of Parliament and we whooped with joy when we were allowed in, as this is the first ever commercial film to shoot there.

I'm not a genre film filmmaker. I'd rather look for a topic that I think we need to bring up and discuss because there's something about the issues in the film.

'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.

It was the first time I worked with Matthew McConaughey [in the True Detective].They're fun guys [with Woody Harrelson]. They don't take life at all too seriously, but yet they take their work very seriously. And both of them are just so committed to character and the story.

I didn't go to film school. I was never an assistant or trainee on a film. I had not seen all those cameras. So I think it gave me a lot of freedom.

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.

Film is a director's medium, and a film set is a complicated military structure - I have to keep reminding myself to stay in my place, or all will burst into chaos.

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.