Best 3577 quotes in «film quotes» category

I feel like Bush presidencies are like "Godfather" films. You should stop at two.

I feel like if a film is well-written, then the character's arc is complete. There really is very little room to expand on that afterwards.

I feel like I'm a fan of film who's actually in the business, too. So it'd be like saying like, ‘Yeah, I love the NFL,’ and then, ‘Yeah, I'm also a wide receiver.’

I feel like I had to learn how to take care of myself and find out what made me happy aside from just making films.

I feel like I share a great relationship with my audience where they trust my judgment and choice of films and sense of comedy.

I feel like there's a lot of experience I have from doing TV animation that would be especially useful doing an animated film in terms of some efficiencies of the process that are necessary for TV, just because you have to crank out material every week, that could be applied to film.

I feel that film, as opposed to theatre, is about capturing that one, real moment.

I feel that film is inevitably the medium of the future. It has been for years, decades, but more so now than ever.

I feel the film companies should pay for proper advertising to see that the movie will sell, instead of putting it on our backs.

I fell in love with film. I didn't start out to be a film actor. I wanted to be a theater actor.

I felt, "Oh, film is a great art because I can pull in music and visual imagery, and it has its literary aspects and drama." Film was a sort of Wagnerian synthesis of the arts, as opposed to opera, which Wagner had thought would be. That's another art form that has seen its best days.

I felt like any individual's recovery was more important than the film I was making. And I actually felt that my presence was a form of witness that communicated to the people I was following that their lives mattered.

I felt that film (Let It Be) was set up by Paul for Paul. That is one of the main reasons the Beatles ended. I can't speak for George, but I pretty damn well know we got fed up of being sidemen for Paul. After Brian died, that's what happened, that's what began to happen to us. The camera work was set up to show Paul and not anybody else. And that's how I felt about it.

If everyone worked with wide-angle lenses, I'd shoot all my films in 75mm, because I believe very strongly in the possibilities of the 75mm.

If, for instance, we'd made the film after the show had been to Broadway, it would have been exactly the same film but we would have been assured that they would have understood it. We didn't have to do any alterations for Broadway. I was supposed to go a fortnight before it opened to alter anything that was necessary and there was nothing really.

If I could direct it [films] I would be very happy. But the economics of business don't always allow you to do what you want.

If I could live my life all over I'd do everything the same; the film in my camera would remain the same; there's no way lord, to leave this love behind.

If I didn't have my films as an outlet for all the different sides of me, I would probably be locked up.

If I die on a film set when I'm 80, I'll be happy with that.

If I don't have to think about the commercial aspect of it, then I feel like I'm going to make better films.

If I do a film and have to get naked, that tends to dictate how often I go to the gym. Acting in 'Richard II' on stage was a huge physical workout, so I ended up more toned than I normally am.

I figure if it's turns out well the film will have its own momentum and will carry into the video release. So it's hard to really picture the DVD version when I'm in production.

If I had my choice, I would do the same little independent films, but they would have $100 million budgets, so I could get paid a fortune and hang out in a huge trailer.

If I had only one film in the world to save, it would be 'Grand Illusion.'

If I had to climb into hell and wrestle the devil himself for one of my films, I would do it.

If I have to shoot on digital, I will not make the film.

If I'm able to catch the screening, there's a point in the film where, like clockwork, a portion of the audience gets really emotional and begins to cry. And that's very difficult to make happen.

If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.

If I just concentrate I can walk into memory's store and find the right shelf with the right film and disappear into it.

If I like a film, I usually appreciate the way it was made the first time.

If I just know in my gut that a film is going to work, I'll fight to the death over it, and I convince myself. When a movie is purely a money job, the film doesn't have the same sort of intensity, and the audience almost senses it, at least that's the way I perceive it. So, yeah, the idea is to do something that you truly, truly believe in.

If I'm in theatre, cinema doesn't even cross my mind. Similarly when I'm making a film, theatre doesn't cross my mind.

If I'm not working, I really have nothing to do with it - I'm not hanging out and mixing with film people. Not that I have anything against film people; they're some of the best people around and some of the worst people around, just like in any business... they just gesticulate a little bit more.

I find animated movies very touching. They reach an audience that's hard to get with a live-action film.

I find it really weird that sexuality is still so taboo in films and violence isn't. It really bewilders me.

I find myself more interested in producing. Not because I'm interested in the financial side of it, but just getting together the right elements to make a film, that side of production. I would not be good on the financial side. It would be a disaster from the beginning.

I find it quite difficult on studio films because there are so many different executives and things like that that you have to go through, so very often getting that definitive opinion is actually quite difficult.

I find it rare to see truly complex portraits of women on film.

I find that I always also manage to incorporate a simultaneous reflection on cinema history into my films.

I find most films about fashion terrible because they are caricaturish.

I find that in preparation for a drama you can do a lot of character work and develop the character and know what you want to achieve and project throughout the course of the film.

I find the most interesting and most daring scripts tend to be for independent films.

I find that in the process of making a film you're constantly discovering things that you never even imagined would work at the beginning.

If it's a great role or a great film, then you're happy to be a part of it.

If it could have happened through a film that I was associated with, it would have made be doubly proud. It makes me proud anyway. I am not disappointed.

If I want to keep making films for a few more years, I probably should be willing to adapt. I've sort of evolved into the filmmaker that I am because of natural selection anyway.

If I wasn't an actor and I watched my films, I could easily be like 'This guy's a clown,' you know?

If I was not allowed to mention that I was in the film industry, I could go six months without getting a kiss.

If I weren't a director, I would want to be a film composer.

If I were to do a musical, I think I would rather make a film musical.