Best 3577 quotes in «film quotes» category

The best films are because of nobody but the director.

The best films of any kind, narrative or documentary, provoke questions.

The best reason to make a film is that you feel passionately about it.

The best thing about making films is the time spent making them. When I see works that I've made, I always think what a great time I had making them. The films remind me of that time.

The best thing about series TV is that everyone you work with is hand-picked, as compared to working on a film.

The best times I had on film sets were the times the director let me express myself, but those were rare.

The bigger the budget, the less an audience is trusted, and that's the difference between a big-budget film and a small-budget film.

The biggest challenge was to make sure that we are looking at things honestly and truthfully. We weren't making an apologist film. That was the toughest part.

The biggest misconception about me is perhaps that I film all the time and film everything randomly. The truth is I film very little and always when something excites me and seems to mean something for the film.

The biggest problem with the independent film sector in Toronto is that they find themselves having to make that budget show on screen.

The biggest lesson Stephen Strange learns in this film is it's not all about him.

The big studio era is from the coming of sound until 1950, until I came in ... I came in at a crux in film, which was the end of the studio era and the rise of filmmaking.

... the blinding Hiroshima flash... literally photographed the shadow cast by beings and things, so that every surface immediately became war's recording surface, its film.

The bookis a distant relative of the truth, and the film is a distant relative of the book.

The broad comedy thing is really hard to do on film.

The brutality that can take place in a crime film heightens the tenderness that can also be there.

The buried code of many American films has become: If I kill you, I have won and you have lost. The instinctive ethical code of traditional Hollywood, the code by which characters like James Stewart, John Wayne and Henry Fonda lived, has been lost.

The categories of A-minus through C-plus [films] are completely dominated by Hollywood.

The censor boards are mere redundant forces conspiring to keep the 'bold' films out of reach of the audience.

The challenge, really, on any new film is to try to avoid that and achieve a few moments that aren't cliche.

The challenge of film is making it right there at that moment, and then you get to move on.

The cinema is not an art which films life: the cinema is something between art and life.

The collective experience of watching a great film together in a room is a transcendent moment that will never die.

The communal experience of sharing something, and being part of it, and watching something visually striking, that's what film is all about. Seeing everything on a big screen, and to be able to see something phenomenal in that way, and being moved by it. We have kind of lost the tradition of that, and we're not nurturing the next generation in that tradition, and maybe that's why they're not turning up.

The Company of Wolves doesn't belong in any category, so it's difficult to prepare an audience for it. It's not a horror film, it's not a fantasy film, it's not a children's film - so what is it?

The concept of a midlife crisis is a well known one perpetuated by books and films. And recently the idea of a quarter-life crisis, between 20 and 30, has also gained a fair amount of media coverage. But there's a surprising lack of robust research on these events, and almost none on later life crisis.

The constant in my films is love stories. I consider love the chief business of humanity.

The conversations about a film are an example of success because then you know whatever you've done has resonated.

The corsets I wore in The Railway Children are still in my undies drawer, a prized relic of my favourite film

The cowboy movies is not our go-to programmer anymore, here's a horror film.

The difference between film and TV, for me, is just that huge thing of knowing that there's a script that is not going to change and you can go really deep into that. With TV, you're just constantly on a high-wire, making sure you don't fall.

The deal is that you can do it, you don't really owe me anything, but at the end of it, I own the film. Then I can actually go out and reprint or not reprint if it I want.

The difference between working on Asian and American films is in the producer and director; everyone has their own style. But, Hollywood has a lot more money; they can spend a lot on films, and time. In Europe, there's a small budget and thinking about commercial. Only budget and taste is different between there and Hollywood.

The crime film is the most honest American film.

The darker the film, the more vital everyone's sense of humor is on set.

The dichotomy between art and industry is totally dysfunctional in terms of film.

The difference - the fundamental difference between theater acting and film acting is that film acting is disjunctive.

The difficulty is capturing surprise on film.

The digital revolution has changed the way we do things because you're not under that pressure that film is precious and film is expensive.

The director is the only person who knows what the film is about.

The directors [who know every detail] make films that are complete, basically.

The distinction between East and West is that the Western novel is very organized, it's very logical, there's a logical progression, there's a chronological progression, and there's a safety in that. Whereas if you look at Japanese film, it is made up of collage or bricolage, it is made up of lists, and suddenly when you stand back from the lists you begin to see the pattern of a life.

The film argues to the young that the old were young once, too, and contain within them all that the young know, and more.

The fact that audiences have come away moved, excited, entertained and stimulated by the film is extraordinarily flattering.

The fact is that war films, by their very nature, are pitched at a high dramatic range.

The film industry is like Anne Robinsonalways on the look-out for a new face

The film is a romance with songs and dances, aimed at a family audience.

The film industry is a cyclical business. Even musicals are coming back.

The [film] industry is an ecosystem that's sick.

The film makers are the true movie stars.