Best 3577 quotes in «film quotes» category

Usually, when you go to a movie, your consciousness floats above the film. 3D sucks you in and makes it a visceral experience.

Usually I don't find gore or slasher films scary. What works for me is the slower build where you are tightening the noose around the situation until you are running out of options and then really have no idea what to do.

Usually, you lose interest in a story beyond a certain point. But with Highway, there was something very subtle, yet something very influential. I intended Highway to be the first film that I ever made. Didnt happen.

Usually, I have in mind what I want to do. I shoot pretty economically, so I'm not shooting tons of stuff that I could change, all that much. I'll cut something or add a little something back, but not too much. This is maybe the producer part of me, but I'm always worried about the budget, so I shoot what I know I need to shoot for the film.

Usually, when I do a soundtrack, the music from the movie doesn't have anything to do with me personally. It's music to enhance to the film. My own stuff is more introspective and about what's on going in my head.

Various studios are still shooting on film with digital grain and the DI negatives, it's not ideal. We should really be all film or all digital. But that being said, the old way of graining in the camera, now you can make changes like a painter. It's dangerous because you can ruin the film, you can over-fiddle. We've all seen films and gone 'what the hell is that?'

Very often on films, even without a producer credit, I'll be involved, very early on. I want to be there as the thing is taking shape.

Video games are perfect to make into films because they are so visual.

War is chaotic and when you start having a larger scale film and you have a lot of safety protocols and choreography, I would imagine it becomes more difficult.

Watch your life as if it were a film. Absorb everything. What you see, hear, and feel will stamp every alphabet of your work.

Watching a Kubrick film is like gazing up at a mountaintop. You look up and wonder, how could anyone have climbed that high?

Watching young Afghan skaters in the film 'Skateistan' made me realize why I've spent my entire life as a skateboarder.

We are living at a time where there are so many films available to watch through so many formats all the time. It's hard for any film to stand out in that din.

We can prevent more people from becoming more addicted - that's number one - with prescribing laws and making sure that people can't get too many of these opioids when they are initially prescribed them. Number two is, we have to make sure the millions of people who are already addicted have access to good and effective treatment. Finally, it's critical that we remove stigma and that's why we've made a film, to show that this can happen to anyone.

We did receive some questions about the film's [Aquarius] sexuality in Cannes, but they came from the press rather than audiences.

We don't watch the film anymore because we've seen it so many times, so we'll introduce it, walk out and we'll come back in right about when I wake up in the morning and walk over to the shop and everything's changed.

We don't believe in splitting the experience. We don't believe in taking a row out and putting in motion seats [that shake and move in response to cues from a film]. If you walk into that auditorium you're going to have a communal experience.

We don't see many films in which someone with schizophrenia is the main character.

We found in 'The Matrix' that people were willing to accept something more. It was a smarter film.

We get along really well, but TV and film aren't reality. We're best friends, but we do have our fights!

We got on a moving train there. That's more of a financing arrangement on that [Dracula] film. It would be disingenuous to say we're producing it. So it was really about getting into business with our partner at Universal.

We had a great producing staff and great filmmakers, but for me, my mission , as a producer, was to make sure that the creators were happy with the film Death Note and that their voices were heard. I felt, if the creators were proud and happy with the film, then in turn, the fans would be proud and happy with the film because the creators know the fan base, inside and out.

We have to look forward and keep filming new films and not get stuck in the past.

We have so many American and English films in Australia that we hear those accents often, so they're not too hard to pick up, but it's always a challenge.

We learned early on that we had chemistry and I was so grateful for that. It's like one of the few magical things about film that still exists.

We just constantly worked on second Saw film, it's not an Academy award level film, but we worked as hard we could to make it plausible.

Well, I am from India and I wanted to make films in English for the international market in India. So that was really the main thing, and then of course economically it was cheaper to make films in India.

We live in far too permissive a society. Never before has pornography been this rampant. And those films are so badly lit!

Well consciously what we were doing when making the film was, we really wanted to make sure it was a film about - in our mind it was never really a sequel, it was its own movie going forward and it's why the movie doesn't have a number by it.

Well I think always, when you remake films, I always think the first one is most original, authentic.

Well, I guess what's caught on film is caught on film, and it would be hard for me to stand here and say that it wasn't, you know me.

Well I'm not much of a singer. But it's been a really nice time to do film, television, theater and have it all happening at once. That wasn't planned but it just happens.

Well it's always been an element of the horror film to show us the gross out. I mean that's one option for all filmmakers making a horror film and it's not something I've found myself above either.

Well, it was the beginning of my film career. It was amazing to me that I got nominated for an Academy Award.

Well I was on the jury duty on the Deauville Film Festival, a few years ago.

Well, TV series tie you up. You can't do films while you're doing a TV series.

Well, there's two things I have criteria for doing a film: The script, which is the story, and the filmmaker, and it's a filmmaker's medium. I like really strong directors, and so when I do a film, I'm out there to serve the director, really, which is in turn to serve the script, to serve the director cause he's the one making the film. I relied on Todd Haynes for that.

Well that's the point: People don't normally take away things from films anymore. You go and see a $100 million film, half an hour later, your biggest concern is what are you going to be eating.

Well the Bombay film wasn't always like how it is now. It did have a local industry. There were realistic films made on local scenes. But it gradually changed over the years.

We look at it as the multiverse. We have our TV universe and our film universe, but they all co-exist.

We're all waiting for the opportunity to do big films but you have to wait your turn - unless you get offered something like Twilight when you're 20! Otherwise, you just have to keep slogging away.

We mixed the sounds ourselves. If they were going to put the sound back onto our film [Pink Floyd: Live at Pompeii.], we wanted to mix it ourselves.

We once believed we were auteurs but we weren't. We had no idea, really. Film is over. It's sad nobody is really exploring it. But what to do? And anyway, with mobile phones and everything, everyone is now an auteur.

We're all forgotten sooner or later. But not films. That's all the memorial we should need or hope for.

We're excited for when Sony greenlights the $50 million film a "Bunch Of Swirling Colors" starring George Clooney and a lava lamp.

We're in a situation now where we've got five long-play records of sort of eerie psychedelic pop music. I don't think that we can make another one. That's really my position on it. If we were to do a film soundtrack or something else where I could take the rest of the band with me. I really don't think bands should make more than five records anyway. In fact, five is one too many. We'll have to see how it pans out.

We're not a media company. We don't own media. We don't own music. We don't own films or television. We're not a media company. We're just Apple.

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.

We're in a situation now where fewer and fewer small films get made. People want these big giant tentpole sort of things, and I don't know, it's getting harder and harder to make a small movie.

We're in a time now where technology is such that we can create anything, and that's what's new about television and film these days.