Best 3577 quotes in «film quotes» category

Sometimes I have chosen to see films just by their posters.

Sometimes I make films about scenes other filmmakers would leave out, so I just make the film out of all the things they wouldn't put in. Poetry allows you to do this more than prose, for example.

Sometimes it's more difficult to do very simple, low-key films.

Sometimes people are surprised to learn that most of the films I've made don't work. They've been released but nobody has ever seen them. Maybe 40 percent of them are very successful. That's a very high percentage; most people have maybe 10 or 15 percent of their films work.

Sometimes people get really sniffy about the films you choose if you've done more dramatic projects or you're classically trained.

Sometimes the critics will like a film, and the public doesn't come. Sometimes the critics won't like the film, and the public will come. It's completely spontaneous. It's a hazard.

Sometimes you film in your hometown, sometimes you go halfway across the world.

Sometimes you just can't walk away from films you're offered, like the Dylan Thomas thing.

Sometimes you're watching a great film actor, and if you stand 10 feet away from them, you're like, "God, they're terrible. They're not doing anything." And then you see the close-up and it's so nuanced and so much expression is happening. They were acting for that camera and for no one else.

Sometimes your characters in films do things that you wouldn't do. You're not playing yourself all the time.

So much money and energy is expended making a film that I think it should be used for positive ends.

So much of the art of film is to do less. To aspire to do less.

So, not for lack of love of language, but because I feel our language is in an enormous state of humiliation, I decided to make films without words.

So my methodological approach is to draw on many different features in highlighting different facets of the novella (and the opera and the film).

So that's Godzilla, he's ultimately going to get you regardless of what you do. Maybe the people who made the American Godzilla film were scared of that. They didn't want him to represent that, to represent something we couldn't deal with because, "We're American's, we can deal with anything".

So we can sit with Lee Unkrich and Andrew Stanton, and all the other folks and experience what the film is going to be like. And then we go away into a room, and we talk about what worked and what didn't. And then we take all of those findings and we do that whole process again.

Speaking personally, I want my films to make money, but money is just fuel for the rocket. What I really want to do is to go somewhere. I don't want to just collect more fuel.

Stage is the most exciting. Film is lovely, because it's like a family.

Starring in a science-fiction film doesn't mean you have to act science fiction.

Structure is important in film, but there's often structure to be found in the most unlikely of places! It's quite possible to build a structured story and retain idiosyncrasy.

Stop helping everyone else make their films, and enlist them to help you make yours. This is an exaggeration, but the point is - you are the one person who cares the most about your project, so you have to take the leadership in driving it forward.

Superman was never previewed because the producers didn't trust Warners with the film.

Successful films are very dangerous things.

Take my wife... please. I'm not saying she's ugly, but when she went to see a horror film, the audience thought she was making a personal appearance.

Take a film of Jacques Tati like Mon Oncle which has something quite new - for me, unique - in it.

Take ownership of every decision you make because you will be hold responsible for the film, whether good or bad.

Television and film are such streamlined story mediums. You can't really meander about, whereas a novel is an interior experience.

Television has usurped everybody from film. And so have commercials, by the way.

Telly and films has been my thing, not necessarily by choice, and if the right piece of theatre came along, I would jump at it.

[Televised stand-up] never really makes me laugh. The only one I ever saw that I liked was Richard Pryor, and that was [shot on] film.

Ten Days That Shook The World, by Eisenstein, I went to see it, and I was so impressed with this film, so impressed with what cinema could do.

That movie, 'Airplane!,' what a landmark film it was. It's a great, great movie.

That film Memento creeped me out. I was looking over my back through the whole thing. I get more creeped out than scared, and spill popcorn all over the place.

That comes from most people having an American film model in their heads which is nothing but a total illusionary masturbatory massage.

That middle ground of films used to be 70, 80, 90, 100; now it's like anything over 20 or under 140, the middle ground has become this huge area where they don't really want to be.

That's like a dream come true. To be able to hire friends, to shoot a movie in the neighborhood where you grew up. To have it released. It's actually a dream. How many people can say that their first film got distributed and out there? What are the odds? My persistence made the odds work for me.

That's the imagination that happens in the theater. That imagination is translated in film by the film magicians and all the technology.

That's the thing with animated films - I often feel that puppets get the better parts compared to us normal actresses.

That's what I like about Neil Jordan's films: everyone is better at what they do than you are.

That's what I love about film scoring. Every situation is new. Every show is a new adventure.

That's when it really came together for me that I was in a Bond film, to have my own spy car!

That's where my passion was ignited, on the set of 'Pobol Y Cwm.' I loved it and I've had such a passion for TV and films. I can't do anything else.

That wasn't an ending. It was just a stopping point.

The 1960s and 1970s were the real years for independent film, because they were really independent. Plus, there were hundreds of distributors. There were all these companies that basically did exploitation, but they were independent. Now, there are very few independent distributors.

That's when you know a horror film delivers - when you're walking out of the theater going 'Oh my God!' You can't get the images out of your mind.

The actual work of recording a record or making a film just requires that you consciously block the time out to do that and nothing else. That's what I do.

The actual cheerleaders in our film are all Broadway dancers.

The actors are the greatest executors of tone in a film. They're the most important cinematic component.

The American films just have so much more publicity and so much more money behind them that it's so hard to compete.

The American movie, in part because America's a melting pot, the cultural hodgepodge that America makes, generates movies that have appeal across all international boundaries. And that's really not true for most domestic film industries. It's no longer true of France and Italy, less true than it used to be of the U.K.