Best 3577 quotes in «film quotes» category

If you have anyone smoking pot in a movie it automatically, I think, knocks it up to maybe PG-13 movie rating and if there's a lot of it, even an R rating, even though chances are it is a legal activity in whatever place the film takes place.

If you have someone falling out of the boat, you'd have to drag the boat up the river and film the same scene ten times, every time, dragging the boat exactly where it was up the river.

If you invent the Mini Cooper, pour all your energy and passion into it and it gets made, you should be on a roll. In the film industry you have to start again the next day.

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.

If you make a film normally it's all right, the distributors are helpful and cooperative. But if you make a film that's a little stange, a little bizarre, then all the time it's a struggle with them.

If you make a movie of the present day culture, in the future it'll be a horror film.

If you need to get in physical shape for a film and you have to maintain that for six months, at the start of the film, I was never able to do it.

If you make a feelgood film which is complete candyfloss, where everybody is good and everything is beautiful and hunky dory, it won't appeal to the audience.

If you mentioned Hanna-Barbera to people, they said, "Oh yeah, Flintstone, Yogi, Scooby-Doo, Jetsons," and that was pretty much it. We have characters with very high recognition factors and great films, but no organized plans for really making the most of them and increasing their value.

If you make a good first film and audiences respond, than hopefully you'll have the opportunity to do a sequel.

If you're a designer, there's got to be some films that you've seen that have inspired you creatively. There's no escaping that.

If you're an artist working in China, you become aware that there are things you have to give up in order to practice your art. For the most part, you know what they are. With my first three films, the consequences of making them was that I had to forgo the possibility of releasing them theatrically in China.

If you're a theater director, you're not going to be prepared for the technical side. And if you're a technical director, you're not going to be prepared for the acting side. The only thing you can do is go through the meat grinder of your first film.

If you're doing a big spectacle film, you've got to be mindful of large masses. Even then, you've got to be responsible only to your storytelling.

If you're fighting with your boyfriend, you can go to the movies and cry it out and leave happy because the ending of the film is happy.

If you're making a film, the one thing I've learned is you have to pick somebody really well-known to make it relevant.

If you're playing around with a film, you're just playing around with it. But if it has to go into theaters, you get yourself into gear and finish it.

If you're the sort of person that likes a job where once you know what you're doing you can keep doing what you're doing, don't ever become a film composer.

If you're reading a comic strip, you can read it at any speed you want. But with film and music, the audience has to take it the way the composer gives it.

If you see, as I do, in edited film, you're going to end up as a director.

If you take the time and put in the effort to write your own material and absolutely refuse to be denied the right to make your film it is difficult whatever colour you are.

If you take a really good book, then the potential is for a really good film. But you've got to get it right.

If you think anyone goes out and commits crimes because of some daffy film they've seen, then I question your judgment.

If you thought it was impossible for a film to contain less effective comedy than Date Movie, here's evidence to the contrary.

If you wanna do a film where you have a big scope, you've got to make your characters relatable and genuine.

If you watch my movie, you understand I am perverse and weird and angry and not looking to direct a film that ends with a bunch of teenagers exploding into glitter.

If you watch any John Hughes film of the eighties, that was my childhood experience.

If you watch a film without music, there's nothing that you can connect with.

I generally follow my own compass and make films about what's scaring me.

I generally like very visually striking films. I love a lot of Stanley Kubrick's films. I would have to say 'Dr. Strangelove', which of course has got resonance in 'Watchmen'. It's a favorite movie of mine.

I get criticized for taking roles in films like Ghost Rider 2, but if you look at my résumé, dude, I've mixed it up as much as I can.

I get offers all the time from film makers, but they are unknown quantities. I don't go there and do experiments.

I get a terminal dissatisfaction on films. If I was bad in one scene, it's impossible to let go. And it can make or break my day. If I drank, I would probably drink a lot.

I get quite fed up being on a film set day after day, six days a week. It can get to be a grind.

I got into film-making because I was interested in making entertaining movies, which I felt there was a lack of.

I go into every film not just wanting to play the hot girl in the movie. It kills me.

I got an agent and went up for the part of my first film, Five Gates to Hell.

I got lot to do at a pretty young age in terms of emotionally challenging films. I did not do any fluff... fluff is not me.

I go to the movies. I absolutely love film.

I got paid 20 grand for my first film. And that's the lowest I ever got paid.

I go by the role pretty much. And I think the only genre I haven't gotten to do but I'd love to is a western, but no one has ever asked me to do that. Unfortunately they are very few and far between these days, but that is one type of film I'd love to do.

I go through periods, usually when I'm editing and shooting, of seeing only old films.

I got my first part in Silent Fall, 1994 - I guess I was 15 or 16 - which was really outrageous because I still knew nothing. I don't think I really learned how to land on my marks until after Empire Records in 1995, 'cause sometimes I'll see a shot in that film, and I'm like "Whoa, I just walked over to the corner.

I got the boot once from Stanley Donen. The film was called The Little Prince.

I got to work with Dustin Hoffman on a film called 'Billy Bathgate.' I got to work with Meryl Streep and Goldie Hawn and Bob Zemeckis on 'Death Becomes Her.' There are still a few actors out there that I would like to work with.

I got used to [ Lars Von Trier] doing the narration for 'Dogville' and 'Manderley.' And I said to him I do these narrations for you but you never put me in a film! So he called my bluff and put me in 'Melancholia' and I was thrilled about that.

I grew up doing plays - I went to a stage school after school - and it's always something that I've wanted to do, but, in a weird way, if you do television and film and you didn't go to drama school and don't have a theatrical background, it's hard to get your foot in the door. In the same way that it is for theater actors to get into television and film. There's a weird prejudice that goes both ways.

I grew up on film scores and scores from films.

I grew up with 'Cinderella.' So that was my go-to Disney film, definitely. It was princess-related, and coming from a smaller area in Illinois and wanting to do something greater than myself in Broadway, that was a film that I could really relate to.

I grew up playing sports, but now I feel like I can't, because if I get injured, I'll impair whatever film I'm working on.