Best 3577 quotes in «film quotes» category

The more sincere I could be, the better it would be for the film.

The more that I see the sexism and misogyny that's coming at me from every direction, the less I think my films have anything to do with sexploitation.

The more times people laugh, the better the film is.

The more we can be honest about ourselves as filmmakers, than the more we can be honest with people who see the films.

The most difficult thing is that I don't speak Mandarin and I had this experience - of working in a language that I don't understand - before and it's really horrible. Eighteen years ago, I played a mute in one film because I couldn't speak Mandarin. There was another film where I had to speak Vietnamese. It's horrible!

The most embarrassing part of the film is that the new problem posed by simulation is confused with its classical, Platonic treatment ... The Matrix is surely the kind of film about the matrix that the matrix would have been able to produce.

The most serious film can be the most fun. The one that's supposed to be fun can be the most serious.

The Movie is something that I made with some friends of mine in L.A. My friend, Luke Eberl, is the filmmaker. He shot this movie and asked a bunch of his friends to be involved with it. I just saw him the other day and there is no money to finish the film. But, you know, I literally have a cameo in it.

The music in a film like this is as critical as anything because Kong is mute. He doesn't talk.

The nature of motion capture is only going to work for certain films. It's not going to put any other type of movies out of business.

Then, early, early, early in the morning-just as in countless Disney films-I heard a rooster crow. But guess what? They don't do it just once.

The nerds are the ones that make the films and do loads of other really cool stuff in their life.

The new film I'm shooting in Jerusalem - which is partly why I'm here in Israel - is something I co-wrote.

Then I became interested in drama, and almost by accident, I drifted into film.

The nice part about not being a huge film is that you get to goof around a bit more.

Then in college I became obsessed with film, and wanted to be part of that.

(The Nutty Professor) was a labor of love. It was a total film. It was the most productive, creative work of my life.

The older I get, the more I'm drawn to the smaller films, but I still hope to keep bigger films in my repertoire. It's just maybe going to be a shift in focus, but I'll definitely still hopefully be kicking around in those.

The only genre I have any problem with is musicals, but that's just my own tastes it's nothing to do with the films.

The only fear I have is that I will wake up one day and nobody will allow me to do films. This is a fear every actor has.

The only difference from one $100 million budget film to another is which of the 12 box stars are getting $20 million to be in it.

The only distinction I'd make is between film and telly, I guess. "Film," "movies," and "cinema" are all synonyms as far as I'm concerned; but telly is different. It's just a plodding we've-done-this-scene, we've-done-that-scene and it never becomes this new other thing.

The only music I've ever written was for a film called Frank, and the idea was that it was the worst music in the world.

The only place that I'd be worried about being typecast is the independent film world.

The only purpose of the visuals, in any film, is to serve the story.

The only time I'm totally happy is when I'm watching films or making them.

The only time I use women in films is when they're naked or dead.

The only thing I really wanted was the freedom to be able to get what I want on film. I’ve dealt with the MPAA since 1973, so I know how to renegotiate and rework.

The only tool we have as artists is selectivity. If you're a painter, you select the color, the lines, how severe they should be. As an actor you develop how angry you should be. You select how angry you should be. You listen to the other actor and then you react. In film, sometimes the other actor isn't even there. You have to play the scene. What I do is I call on my experience on the stage. I play the scene and I hope that I reach a certain level of integrity because that's what I learned on the stage.

The only way to ensure a film is going to sell is put Will Smith in it and you open it in 3,000 theaters and make sure we have all the top promotional spots in each venue.

The original 'Edge of Darkness' was fantastic, a fabulous series. It was of its time, but this film version shows that times really haven't changed.

The only way you can learn about making films is by making them, by putting your stamp on the thing.

The outraged citizens of Indonesia - lawyers, doctors, engineers, scientists - should be speaking up; they should be shouting. And of course, the voices of farmers and workers, their terrible stories, should be read and heard from the pages of independent magazines and blogs, from YouTube and independent films.

The possibilities are endless for me - Broadway, TV, music and film.

The period from 2001 to 2005 was really tough. My films were not working even though there was an acceptance of a model. I was depressed but did not cry. I cry when I am happy.

The power of good film is being there in the moment.

The people green-lighting films or TV series often want household names, but the smart ones realize that there are lightning rods who can make things happen, and they aren't necessarily the ones who are celebrated.

The play has to work for the super fans, and not speak down to them, and yet it had to play to those people who maybe had never read a Harry Potter book or seen the films.

The power of a good film is to engage you and draw you into its world.

The practical value of history is to throw the film of the past through the material projector of the present on to the screen of the future.

The problem with doing a schlocky or big budget studio film is that it wouldn't actually be fun for me. It wouldn't be exciting.

The prime motivation in making almost any film is success, because film is the art form of the 20th century.

The process always starts with detailed conversations with the director, followed by a spotting session (deciding where the music goes and doesn't go in the film, and what the music should be saying or not saying) in each scene. This is followed by sending the director demos of each cue for feedback.

The problem with the British film industry is the nervousness and insecurity about - and genuflection toward - Los Angeles.

The process of doing a play is an organic one and the process of doing a film is totally un-organic.

The profession of film director can and should be such a high and precious one; that no man aspiring to it can disregard any knowledge that will make him a better film director or human being.

The psychiatrists examine you and ask you about your life and work, and then they decide whether your film can be shown or not. It's a horrible experience.

The prospect of being able to work on a Kaufman film with him directing was just too good to be true.

The public's nerves are raw and edgy. You have to be discreet and understanding about the films you are showing.

The public has yet to see TV as TV. Broadcasters have no awareness of its potential. The movie people are just beginning to get a grasp on film.