Best 3577 quotes in «film quotes» category

My good films were independent and my bad films were not.

My home in Hollywood is not a home. I do a film here, a film there, as they want it. I don't have a relationship. Like, Warner Bros. has a great relationship with Clint Eastwood and takes care of him.

My inspiration can come from anything - films, the street, paparazzi pictures.

My job is going to be to direct the film - I'm going to do it. And that's where my job ends.

My job is just to make the films and then I don't have any strategy.

My intention is to do more films.

My job is — I make socks. That’s all I do. I don’t necessarily care about the show. I would rather film this — me doing what I do — than being around my family.

My interest in music tends toward being orchestral music. And the repertoire of music that exists is, to me, far more emotive than what is standardly used in movie scores. That isn't always. I think there've been some excellent movie scores by excellent directors. But for the most part, watching a film, one of today's movies, I think that the emotional undertone of movie scores is pretty poor.

My job scoring a horror movie is like being the barker at a carnival. A good barker can get anyone to walk into the roped-off tent. Especially with the main title, my job is to convince the audience to take the leap into the film even though their better sense is telling them, "I should put my popcorn down and get the hell outta here"!

My knowledge of horror films is pathetic because I can't really watch them.

My kids get very upset with me when I leave to do film work, but they have a lot of patience with me when I leave to do environmental work.

My line-learning is very special. I like to learn the dialogue of the whole film before I arrive.

My main aim has always been to do good quality films with roles that have some substance. With Power and Beauty there were loads of things that I liked about the movie, which made me opt for it.

My M.F.A was in directing, and all the films I've made, for film school and after, I've written, directed and shot.

My mother did movies from the New Wave, but I was quite shocked I didn't know much about that period. Bernado showed us film of the demonstrations of the time.

My movement from painting to film was a very conscious one.

My mum never understood how much I earned. When I told her I earned a million pounds a film, she said, 'How much is that?'

My nickname is Bondy. But not because of the Bond films - it was my surname a long time before I did those.

My original goal was just to do stand-up but then I became interested in films - writing a film, shooting one someday, and getting to act in them.

My own sense and taste in 3D films has been I don't really like it when it feels like it's a gimmick and it's coming at me, it's flying at me.

My partner, Beth Alexander, and I want to produce smaller films, but commercially viable films that will enable me to make the kinds of movies I want to make.

My personal problem is that I take the business of film-making so seriously that I find it very difficult to relax.

My plan was to stay in Canada to make films.

My point was that it's hard to make good films, but I'm not under any illusion that you do all the time.

My private life has nothing to do with my films.

My producers give me total freedom. No one asks me for anything; they just tell me to make a good film, and that's what I do.

My process differs... my process for a Richard Linklater film is very different than a process for Training Day.

My reaction to 3D is subtly. Things don't come out at you, but rather you - The audience come into the film.

My protest against digital has been me saying, "What's going to happen to film?" The result is that Kodak is out of business. That's a national tragedy. We've got to keep making film.

My quest to find a great role for myself started long before this film [ "Our Brand Is Crisis"]came around.

My roommate at Yale University introduced me to the auteur theory of filmmaking. I soon became a big fan of the works of John Ford, Kenji Mizoguchi, Ernst Lubitsch, and Stan Brakhage. I then decided to make my own films!

My whole experience into the sitcom world, it was, like, "This is like theater, this is like film... This is a hybrid of everything I love to do. A live audience and rehearsals and... more food!

My Toussaint [Louverture] film is in limbo. We still hope after all this time that we can find another way to get this film done.

My stage successes have provided me with the greatest moments outside myself, my film successes the best moments, professionally, within myself.

My whole career is based on taking a left turn after each film and doing the opposite of what I've just done.

My wish is to bring my heroes to the big screen, and many of them have already appeared in my films.

My work is like digging, it's archaeological research among the arid materials of our times. That's how I understand my first films, and that's what I'm still doing...

No, I did a film called 'Death and the Compass' as well.

Never take no for answer, and try to make films that turn you on.

Ninety percent of films are pretty mediocre, but they have a built-in audience and open on 3,000 screens.

Nollywood is a genre, and not the entire Nigerian film industry.

Near the end, she [Marilyn Monroe] was badly treated by Fox Studios, during the 'Let's Make Love' film shoot in 1960, they threw her off the set because she had a cold.

New York is a character, all on its own, and whenever you film there, it becomes part of the show. That's just the nature of being there.

No film critic's going to say it, but 'Madagascar 3' is better than 'The Artist.'

No film ever ends up exactly as you would like it to, but with minor exceptions, THX came out pretty much as I had visualized it, thanks to some excellent assistance -- and a whole lot of luck.

No matter how great the script, the actual film will only be a distant relative of it - it will never be an identical twin.

No matter how widely spread out the films are, how different, you still are you.

No matter what lens you use, no matter what speed the film, no matter how you develop it, no matter how you print it, you cannot say more than you can see.

No matter how many times you do it, you don't get used to the sadness - for me at least - of coming to the end of a film.

No-one gets beaten to death quite like Hilary Swank