Best 3577 quotes in «film quotes» category

Don't shy away from producing your own film and being in charge of its business end as well.

Don't use your film for ugly purpose.

'Do the Right Thing' was like the first film where I really felt comfortable working with actors.

Do we root for Michael Corleone in the 'Godfather' films? I think so, even if he is a monster.

Do you like foreign films?” “With subtitles?” “Yes.” “I hate those types of films.” “Me too,” Cliff says. “Mostly because - “ “No happy endings.

Dragon's Lair 3D is about as close as you can come to controlling an animated feature film.

Each film I make changes me in some way. When I start the picture I'm one person and by the time I finish I'm another.

Each one of my films is personal; each one of my films is emotionally autobiographical. And I like directors who do that.

Each thing leapfrogs. I do a Genesis project - like now, we're just finishing off an album - and then by the time the album is doing its thing, I could do nothing or I could do a film.

Each time I'm in a film, Givenchy dresses me.

Each time you do a film you gain a lot of experience and build a visual resume where people get to know who you are.

Early on everyone should do, every time they do a big film, they should do a little film. It really does keep you grounded.

Editing is a natural extension of collage making. It's actually one of the few areas that women were able to excel in in the film industry from the beginning.

Editing is now the easiest thing on earth to do, and all the things that evolved out of word processing - 'Oh, let's put that sentence there, let's get rid of this' - have become commonplace in films and music too.

Editing is where movies are made or broken. Many a film has been saved and many a film has been ruined in the editing room.

Eisenstein was a good editor. I was trained as a film editor, and I've no doubt that the editor is key to a film.

Ek Main Aur Ek Tu was a very special film for me. Imran and we complement each other very well. He is sugar, and I am spice.

Elia Kazan - the films he made were such a big deal for me when I was growing up.

Emeric [Pressburger] was completely cosmopolitan. That's what makes their [with Michael Powell] films so special. Neither of them thought twice about making a film about a friendship between an Englishman and a German during the Blitz. They were genius.

Euthanasia is legal in Hollywood. They just kill the film if it doesn't succeed immediately.

Even before the economic crisis in Greece there was no structure for making films - no proper industry, and the structure didn't help filmmakers at all. So filmmakers had to help each other, and make very, very low-budget films. Now with the crisis, things got a bit worse, but filmmakers are still going to be making films. It didn't change that much.

Even during the promotion I told people that I didn't like Rush Hour. The jokes I didn't understand and the fighting, compared to my Hong Kong films was terrible. A lot of people didn't like it. But mostly people did like it, they really liked it. Rush Hour really brought me to the American family audience.

Even back in the '90s, I shot certain things on something that wasn't digital then, but it was on VHS with a smaller camera and we would up it to film.

Even if I set out to make a film about a fillet of sole, it would be about me.

Even in the most sophisticated person, it is the primitive eye that watches the film.

Even in a perfect world where everyone was equal. I'd still own the film rights and be working on the sequel.

Even if you try to copy a film shot by shot, you still can't. It's still your own film.

Even the most humble role, I've always felt really wildly grateful to be getting anywhere in film business.

Even the European critics... They said Hostel is the smartest film they'd seen on capitalism and how it's gone too far.

Even when Warren [Beatty] cast me, it had been two years between films at that point.

Ever since I was a little kid I was obsessed with films, and I always wanted to make them

Every actor has to make terrible films from time to time, but the trick is never to be terrible in them.

Every ad for every film is exactly the same.

Everybody expects you to be qualified to talk about your films, but in a way, you're the least qualified person to talk about them. When you're finished, you don't watch them at all.

Everybody knows that I am not usually patient enough to actually sit down and watch one of my own films from the beginning to the end - I never do.

Everybody said I was good, but being known and not having a big film success is almost tougher than being completely new. It just kind of turned my life around and was definitely a highlight.

Everybody wants blockbusters. I like to see a few pictures now and then that have to do with people and have relationships, and that's what I want to do films about. I don't want to see these sci-fi movies, and I don't want to do one of those. I don't understand it.

Ever since Poltergeist terrified me when I was 12, I can't watch horror films, I'm a real wuss.

Everybody else is going to react differently to the film [Aquarius], but what I love about it is that both men and women are going to react to it because they will find themselves represented.

Everybody puts importance in money on a film set.

Everybody thinks making films back to back is a big deal but they did it all the time in the old days.

Every fact in my films is true. And yet how often do I have to read over and over again about supposed falsehoods?

Every film is a puzzle really, from an editorial point of view.

Every film is exciting because I get new tools and cool new things to do.

Every film is its own experience, its own planet, its own family. It seems infinite when you're working on it, and then it's suddenly very finite, and it's done.

Every film has an origin. It is made under certain circumstances, and that is a very important point that should be kept in mind during a review.

Every film has challenges and all of us are doing it together, all the cast is doing it together so you keep each other motivated I guess and keep each other in check.

Every few years when it's been another five years that have passed and I haven't made a film and the depression starts taking over totally, I allow myself to do a commercial. And then I feel really dirty and get to work promptly.

Every film I've ever worked on, and that includes 'Braveheart' and 'Trainspotting,' I've always witnessed a director having a breakdown. Every director will have a day, without exception, where they just can't do it anymore, they don't know what to say to their cameraman, their cast. It's the sign of real, physical exhaustion.

Every film takes on its own life. I find it very interesting to show an audience some part of history that maybe they don't know.