Best 3577 quotes in «film quotes» category

When you make a film that is based in reality, reality will come up all around it.

When you make a film, you like to run it with an audience. They tell you you're narrow-minded or subjective, or that seems too long, or that doesn't work.

When you make a film you usually make a film about an idea.

When you're acting you always want to come across as if you're not acting. For me, my take is always to have it feel like you're watching someone on film and that comes with a lot of preparation time.

When you produce and direct your own film you havethe somewhat consoling feeling that the producer will kill for you.

When you're at a film festival, you have a rapt and enthused audience and if you can point them to a Kickstarter campaign, that's a great way to leverage that enthusiasm. Even if you don't need finishing funds, it's a way to get outreach funds.

When you're doing a film, it's your film and it's, you know, your blood and - is in it along with everybody else's, and it's the greatest picture ever made when you're shooting it. It's only after the critics and then the public say you were wrong that you realize that you were wrong.

When you're a person of color in white America, you know white people. You know why you know white people? Because you can't enjoy any kind of entertainment if you are not able to humanize white people. If you watch a film and are like, "Oh, this has white people in it? Then I'm not interested," then you can't enjoy anything in America!

When you're a woman in your 40s, it's not the best time to do films, because there really aren't that many roles. Then you reach 50 and there are more roles again. Mother parts.

When you're making a film all by yourself, that requires you to have quite a bit of a point of view in order for anything to get done.

When you're making an independent film and you care about it so much you do all the prep work beforehand.

When you're going with a huge dramatic disaster film, try to keep the narrative as simple as possible.

When you're making an independent film what you don't have in time and money you have to make up with creativity and diligence.

When you're on a set it can be very tedious and slow. It's just not as big as when you see it on film.

When you're so passionate about cinema, the idea to direct your own film is really appealing.

When you're supposed to be close and friends in the film, the moment you're talking as friends off the set, it makes it that much better when you're filming.

When you're working on a film, it's intense and it's very all-consuming. There's not something in particular.

When you're working in the [film] industry and you're working with people who are well known and are so regarded, you do just pick up on things. Seeing the way that people hold themselves and compose themselves before a scene - it's inspirational.

When you're younger you don't care so much, but as you get older you have a family and stuff like that. But I've always kept my foot in theatre and I've kept my foot in independent film, so I'm really happy going back and forth. So, if I can't find the meaty roles in studio films, then I'll go back and dig up a little independent where I can flex my muscles a little bit.

When you see a finished film, it's very rare that it exceeds your expectations.

When you shoot on film, you don't know whether you've got it or not until you get the film processed, and so it changes the relationship we have with the subject whether it's a landscape or a person in a so-called controlled environment in a chair in a studio in front of you.

When you see period films, it tends to often be with older actors.

When you start in movie business... It is a business, actually. Nothing to do with art. Picasso is art, and Giacometti, but film acting is no art. Just the luck of being discovered, maybe.

When you've finished the film and everybody's already made back all their money, everybody just leaves you alone and I'm very happy. That's what it has to be like.

When you think of a particular director, you think you would have liked to be with them on one particular film and not necessarily on some other one.

When you work in film, you have to be pretty fluent in explaining your vision, especially when speaking to actors, and I found speaking to actors to be so challenging and intimidating on set.

When you work with great people, you learn - about film, about clothing, about life, about sex.

When you work so hard on making a film, it's all worthwhile when you get to experience seeing that film with an audience who thoroughly enjoy it and react to the movie.

Whether it's making a film or raising my children, personally I'm striving to do the right things and to learn.

Whether you think a film will affect society or it's plain entertainment, it's all excellent, it's all noble.

While making Genevieve, I learned there could be a lot more to a film than just acting in it

While more great films are being made every year, it is increasingly difficult to get indies into theaters or on TV.

With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.

While we're working on the script, I never see any films. I make it a point because I don't want to get distracted. I don't want to be influenced, and before I know it, have somebody say, "My God, she plagiarized that line.

Who says that actors are cattle? Show me a cow who can earn a million dollars a film.

Why do a crappy film role when you can do a meaty stage role? and ...I'm not small and curvy and I don't fit the prerequiste for small, passive, sexy chicks.

With a book you can read the same paragraph four times. You can go back to page 21 when you're on page 300. You can't do that with film. It just charges ahead.

With a film, I do my best to understand the author's intentions and try to bring the characters to life.

With all of my films if I get one bad review and a bunch of good reviews the bad one is the only one that will stay with me, which really sucks!

Who better than an Irishman can understand the Indians, while still being stirred by tales of the US cavalry?

With a film, things constantly have to go up in the story, and you're constantly putting pressure on the main character. It allows to go really deep into what its relationship is.

With films, you completely immerse yourself in a character, get into who they are, live it and then release it.

With journalism, films always have to be to do with some personal statement of your own. As a general rule, I resist that. In the States, a question that kept coming up was this: how can you, as a man, talk about three women?

With Kubrick and most film directors, they are in complete control, but one can influence them.

With independents[films] you sort of make them on the go and there is that little bit more creative freedom. You don't have the money to slow down!

With music, you can portray a certain thing, but in film, sometimes you have to let yourself go to a point where that can be attractive to a person, that you're willing to let yourself go that much. It works both ways.

Without chiropractic care, I couldn't have existed with my work as a TV and film actor.

Without psychology, the horror film doesn't exist.

With some films you can sort of slide in, get a haircut and you're in.

[With theater] you draw the audience into the room as best you can, and in film, you can draw them into the room, you can draw them outside into the desert, you can take them out into the ocean, you can do all these amazing things.