Best 3577 quotes in «film quotes» category

I'm definitely a big believer in the notion that a heightened style can get you closer to an authentic human experience than so-called realism on film. There are films I love that have kind of a muted or realistic style, but for me on any given day I have more moments during the course of a day that feel like a Fellini movie than I do a Cassavettes movie.

I'm drawn to filmmaking that can transport me. Film can immerse you, put you there.

I mean, everyone says Citizen Kane. It isn't that great, anyway. And Orson Welles I knew well, of course. He made other incredible films that no one would let him make, which were much better than Citizen Kane, really.

I mean, I'm new but I've always been very interested in film making process and I've been lucky enough to work with film makers in my past that have been very encouraging to let me hang around. I get so emotionally vested - that the producer part of me was natural.

I mean, the old film critics just excoriated me.

I mean they're making remakes of my films and I'm not even dead yet! Why would you want to make a remake?

I mean look at Antichrist. He's not making films to be liked by everyone, so why is this so surprising coming from Lars von Trier?

I meditated before I hosted the Oscars, I meditate before I go on stage, I meditate in the morning and lunchtime when I'm on a film set.

I meet all these American filmmakers that film for months and months, and it's a mystery to me. I couldn't make a film like that. I have to be very clear in what I'm doing and where it's going, and be very disciplined about what I film.

I met John when I was 18 and I was in my first John Waters film when I was 19.

I'm from a Lebanese-American family. And I've been had lot of contacts and - with Arab-American community, especially Arab-American filmmakers and actors and so forth. It's a community that, a minority that really hasn't been heard from enough. And so many of the stories that are told about Arab-Americans these days are just negative portrayals in the news, but also in television and film. So we're - we set out to try and offset some of those stereotypes.

I'm finding now more and more that nudity is so rarely serves the story in any film.

I'm glad movies aren't going to please everybody, they can't. But what they have to be is recognisable. I don't equate myself with a master painter, but I think you can recognise my films.

I'm glad that my films have been consistently faring well rather than one stray Friday!

I'm going to do an adaptation of the Italian film, Bread and Tulips. I really like that film.

I'm going to keep making films I believe in. Whether I am successful or not is besides the point.

I'm going to make a film where not one word is really important. I'm going to make it all action.

I'm hard to pin down. I tend to look different in films.

I'm happy to work. I know things have changed recently, but I tend to prefer film. I don't know what it is.

I’m having a vacation and it’s so beautiful and maybe I’ll never get another film idea in my life.

I'm hooked on Polanski's films, his psychological thrillers. I love 'Rosemary's Baby,' I love 'Repulsion.'

I'm hoping that word-of-mouth on the film - people seeing it and liking it - that that will drive more people to the theaters, because I haven't seen the billboards or the posters or anything.

I'm hoping one day I can make one really good film.

I'm in film school, so I really have to sock away my money for school, tuition, and so on, and I really don't have time.

I'm inspired by fashion. I'm inspired by the moonlight. I'm inspired by sex and pornography and slasher films.

I'm inspired heavily by film influences - David Lynch's Blue Velvet, Federico Fellini, Alfred Hitchcock, Pedro Almodóvar, and what I see in the cinema - so there is a linking, an interweaving between memory, cinema and contemporary life, which the women in my pictures encapsulate.

I miss animation very passionately. Not continuously, but every once in a while I would die to do another film.

I'm interested in seeing films that confront me with new things, with films that make me question myself, with films that help me to reflect on subjects that I hadn't thought about before, films that help me progress and advance.

I'm in the film industry, and I very seldom go to the theater now. It could be work, not being in New York, that sort thing - because in New York, you do go to theaters; you can walk to a theater and then walk to a restaurant. But in places you have to drive out to the cineplex to see a movie, it's starting not to be worth it anymore. It's like the days when you went to get a book at the public library. You don't have to do that anymore. You just go on your iPad and all of a sudden you're reading The Duchess of Malfi.

I'm looking forward to locking swords with Douglas Henshall and working against the stunning backdrop of Shetland. I came to Scotland a lot in the '70s and '80s in various theatre productions and of course to film Hallam Foe but this is the furthest I've ever been.

I'm like most people. We just concentrate on the present. I live right where the film is going through the film projector and it hits the light.

I'm making and marketing my films, by any means necessary, and enjoying life while I do so.

I'm me, I live from film to mouth.

I'm more embarrassed about some of the films that I've been in than I am about Playboy. Playboy I'm actually quite proud of.

I'm more prone to anarchy than I am to control - even though I'm a film director.

I'm more likely to lose my temper on a film set than almost anywhere. Often the level of idiocy is so exalted that it's impossible to comprehend.

I'm mystified by the stuff that doesn't work. I'm mystified by what's going on in the critical side, too. Stuff I like is getting trashed and stuff that is being praised I think is terrible. I don't really feel in sync with what's happening, but at the same time, what I think keeps me afloat is that I try not to be, and don't want to be, very indulgent. I try to make the films as lean as possible, and to not spend a lot of time crawling up my own ass creatively.

I'm never there enough to really keep up with what's going on in the Australian film industry. I just try and be part of it as much as I can.

I'm not a big slasher film fan.

I'm not a cinephile. My films don't reference films. I'm more interested in rhythm and feeling.

I'm not afraid to delay the schedule to make sure that this is the film that I want, that this is the best that I can do at that point.

I'm not a big shoot-em-up, bang-bang. I like romantic films.

I'm not a film buff. I don't watch a lot of movies.

I'm not a craftsman of graphics or art or film. I'm more of an idea generator and manufacturer.

I'm not a massive fan of 3D. I've seen some good 3D, and I've seen quite a lot of bad 3D. I think if a film is created for the shock effect of 3D, then it's a certain type of film that I'm not massively bothered about.

I'm not a preacher and I'm not a pastor. But I really feel my career was leading me to make this. The Holy Ghost was working through me on this film, and I was just directing traffic. I hope the film has the power to evangelize.

I'm not a politician; I'm lucky to be a filmmaker and to be able to express myself through the films I make.

I'm not an actor - and I've got 64 films to prove it!

I'm not an actor who approaches films doing a lot of research. I do zero research, unless it's a film where I'm playing a mock version of someone who already existed. Then, you've got to do a lot of research.

Im not a part of the glamour industry. I would like to focus on my game, and there are minimal chances of me getting into films.