Best 3577 quotes in «film quotes» category

I shoot very little film. If you just do coverage you're shooting any number of potential films instead of just one, and I was shooting just one specific film. Film is cheap but time is expensive.

I signed on with Disney to star and choreograph an original film.

I should mention Vittorio Storaro, who was Bernardo Bertolucci's cinematographer. You watch those films and they are exceptional.

I sit every once in a while and I think about plays and films I can do with William Petersen into our eighties. He's the most incredible scene partner I've ever had.

Is it inevitable after a successful film that they're going to ask for another one? Yes. Do we want to rush and do it for that reason? No.

Isn't Halle Berry the most beautiful woman? I have a film I'd like to be in her with. I mean, I'd like to be with her in.

I sort of jumped out of movies and into the lifeboat of comics. I loved it right away. It was the opposite of film school. Whatever was in my imagination could end up in the finished product. There were just no limitations.

I spent a couple of years doing American films. I did a few.

I spent several years in the film finance business, but I returned to what I loved most about the industry - actual filmmaking, producing, writing and directing.

I started my own magazine with drawings, commentary, news, film reviews and drawings.

I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.

I still, by and large, make low-budget Australian films.

I still don't have a publicist. If I'm in a film, you have an obligation to promote it, I'll do as much as I can.

I still feel that a movie has to attempt to say something - even if it fails miserably. But I've sort of given up on believing that I'm going to change the world with every film I choose to act in.

I still don't know what the film was about because all I remember is a whole lot of technical dialogue about a body in a suitcase.

I still haven't made a film that defines who I am.

I still have auditions for independent films. I've been still working.

I studied acting at Boston University. I was in the theater department there. Somewhere in there I decided that wasn't what I was going to do and I went to the B.F.A. film program at N.Y.U.

I studied political science and international relations and had the intention of becoming a journalist or work in foreign affairs. I had no intention of making a film.

I support all Australian films.

I suppose drama can either take the place of a novel or can be very closely allied with it. It's quite customary to turn a successful novel into a film or a television series because you can dramatize and pictorialize a novel.

I suppose I like to set myself projects that are tight, focused, and then challenge myself with how broad I can go within that limited aspect. I think to Helmut Newton and film director, Federico Fellini - the added level of eroticism, the arousing message - and how it was possible for them to keep their signatures over so many years.

I suppose I can do more for a script as an actor than as a writer - in the film sense.

I surely haven't only dealt with film people. As a lawyer, I also fought against evictions, or worked on leases - the unglamorous side of the business.

I take a few pictures a week, but the best part is waiting for my film to be developed. The suspense is exciting, and the reward is great.

I take care of myself because I'm an actress and I have to take care of my body as it's my tool in order to give in films.

It always seems that the generation below you is getting worse, which is why I had the worst character in the film Adulthood that said it. I don't remember speaking to my elders like that, because you never remember... actually our generation was quite bad because everyone else always seems worse.

It certainly made a film writing career for me.

It can be difficult to present mental illness in film without resorting to devices that, if not handled well, can seem heavy-handed or cliché.

It'd be interesting to see a film from an alien perspective. Maybe we're the weird ones.

Itd be cool to carry on doing films, but when I was a kid I wanted to be an ice cream man.

It doesn't matter whether you shoot on celluloid or on digital, you better make a good film.

I thing for female filmmakers a big issue is making their second and third films. You see the statistics, and the dropoff on the second and third [films] , are dire.

It [film-making] really just has to do with my own ghosts and phantoms. And I have to say, in the end, it's just my way of seeing things.

It helps being from somewhere other than Hollywood, not having grown up with that sense of film-making. I really wasn't exposed to that as a young woman.

I think all industries are sexist in nature and I don't think the film industry is any different.

I think a film is a failure if it doesn't have an emotional effect. That's the film's failure. Not if it doesn't deliver a message, but if it doesn't have emotional effect or visceral effect.

It doesn't really exist, this Frat Pack. We run into each other on occasions and we all like each other's films, I guess, but there isn't some big funny restaurant or bar where we all hang out. At least, if there is, they haven't invited me.

It has absolutely no meaning to me to be an executive producer on a film that I have nothing to do with except come to the wrap party or the premiere on; it's just meaningless.

I think a film set is a quite controlled environment and you feel like you can trust them and it is going to be a safe place to work, but I really don't think about it.

I think a lot of ["Cosmopolitans"] is marked by [Jerome David] Salinger. Salinger wouldn't allow his works to be adapted for film after his experience with "Uncle Wiggly in Connecticut," and I think that's great for us because then we have to do our own Salinger stories.

I think any filmmaker will tell you when they wandered from theater to theater to watch their prints, it was disheartening to see the poor levels of light and the disrespect for films that existed in certain theater chains. It was always inconsistent.

I think a lot of people misunderstand what I'm doing, because my films are not easy sometimes. They do deserve a second viewing. I think they get misunderstood easily.

I think classic films are classic for a reason. It's always sketchy to redo one, especially if you're trying to make it contemporary. That's really just not the way to go.

I think being attracted to mistakes is one of the things that film can capture in a way that theater can't. Film can capture a moment of spontaneous life that will never be captured again. I like a lot of structure and a lot of lines, but then within that I make room for things to happen that you couldn't have predicted.

I think drug movies free the director to make intense films

I think digital will displace film, yes. We're talking about digital as a thing of the future, but I'm afraid that it's here.

I think everybody works from a defensive position, for the most part, in the film industry.

I think every film I make that puts characters in jeopardy is me purging my own fears, sadly only to re-engage with them shortly after the release of the picture. I'll never make enough films to purge them all.

I think every filmmaker wants... I don't know about every filmmaker. I certainly want my films to just exist. I want them to be judged for what they are and analyzed, accepted, criticized, whatever you want to call it, on their own terms, not as part of some mall-cop genre.