Best 3577 quotes in «film quotes» category

Truffaut loved actresses, and he was very intense. All the actresses I knew wanted to do a film with him.

Truthfully, my films don't get funded, they get adopted - and are made thanks to the generosity of others.

...truth-telling may be an ethic, adopted by photojournalists as a behavior, but experience shows us that it is not embedded in the medium like silver salts in film.

Try to produce your own films, avoid directing for hire.

TV is an extraordinary medium. You can do things with TV that you just can't do on film. There's so much more time, there's the opportunity for development, and you can let things lay dormant for a period. You can't really do that in two hours or three hours in a movie, that often, I would say.

TV has been very good to me, and I hope I've been good to it, but I also love film.

'Twilight' is a phenomenon. And I'm so happy it's all captured on film. It's going to be something I'll always look back on, for sure.

Tyler Perry's brand is faith, family and this whole thing that I've built, while my company, 34th Street Films, is like Disney's Touchstone. We can do anything. People don't know what to expect from me yet.

Ultimately, you just have to do what feels right for the film. It really helps when you have great collaborators like my editor, Eduardo Serrano, who kept telling me various scenes should be longer.

Undeniably the American art form, too. And yet more and more, we see films made that diminish the American experience and example. And sometimes trash it completely.

Unfortunately, when you're working in film, it's this huge machine, and you've got to get everyone right there, so you get kind of locked into things. I'm not sure where the artistry in film making is. It's usually that moment when you're on set and you're working with the actors. That's the time to play around, the moment of theater. And then you can shape things. But a lot of it is just managing stuff. It's upsetting because you get away from the core.

Unless it's done superbly, as in the Japanese film Gate of Hell, color can be a very distracting element.

Usually, when you go to a movie, your consciousness floats above the film. 3D sucks you in and makes it a visceral experience.

Usually I don't find gore or slasher films scary. What works for me is the slower build where you are tightening the noose around the situation until you are running out of options and then really have no idea what to do.

Usually, you lose interest in a story beyond a certain point. But with Highway, there was something very subtle, yet something very influential. I intended Highway to be the first film that I ever made. Didnt happen.

Usually, I have in mind what I want to do. I shoot pretty economically, so I'm not shooting tons of stuff that I could change, all that much. I'll cut something or add a little something back, but not too much. This is maybe the producer part of me, but I'm always worried about the budget, so I shoot what I know I need to shoot for the film.

Usually, when I do a soundtrack, the music from the movie doesn't have anything to do with me personally. It's music to enhance to the film. My own stuff is more introspective and about what's on going in my head.

Various studios are still shooting on film with digital grain and the DI negatives, it's not ideal. We should really be all film or all digital. But that being said, the old way of graining in the camera, now you can make changes like a painter. It's dangerous because you can ruin the film, you can over-fiddle. We've all seen films and gone 'what the hell is that?'

Very often on films, even without a producer credit, I'll be involved, very early on. I want to be there as the thing is taking shape.

Video games are perfect to make into films because they are so visual.

War is chaotic and when you start having a larger scale film and you have a lot of safety protocols and choreography, I would imagine it becomes more difficult.

Watch your life as if it were a film. Absorb everything. What you see, hear, and feel will stamp every alphabet of your work.

We don't believe in splitting the experience. We don't believe in taking a row out and putting in motion seats [that shake and move in response to cues from a film]. If you walk into that auditorium you're going to have a communal experience.

We can prevent more people from becoming more addicted - that's number one - with prescribing laws and making sure that people can't get too many of these opioids when they are initially prescribed them. Number two is, we have to make sure the millions of people who are already addicted have access to good and effective treatment. Finally, it's critical that we remove stigma and that's why we've made a film, to show that this can happen to anyone.

Watching a Kubrick film is like gazing up at a mountaintop. You look up and wonder, how could anyone have climbed that high?

Watching young Afghan skaters in the film 'Skateistan' made me realize why I've spent my entire life as a skateboarder.

We are living at a time where there are so many films available to watch through so many formats all the time. It's hard for any film to stand out in that din.

We did receive some questions about the film's [Aquarius] sexuality in Cannes, but they came from the press rather than audiences.

We don't see many films in which someone with schizophrenia is the main character.

We don't watch the film anymore because we've seen it so many times, so we'll introduce it, walk out and we'll come back in right about when I wake up in the morning and walk over to the shop and everything's changed.

We found in 'The Matrix' that people were willing to accept something more. It was a smarter film.

We get along really well, but TV and film aren't reality. We're best friends, but we do have our fights!

We got on a moving train there. That's more of a financing arrangement on that [Dracula] film. It would be disingenuous to say we're producing it. So it was really about getting into business with our partner at Universal.

We had a great producing staff and great filmmakers, but for me, my mission , as a producer, was to make sure that the creators were happy with the film Death Note and that their voices were heard. I felt, if the creators were proud and happy with the film, then in turn, the fans would be proud and happy with the film because the creators know the fan base, inside and out.

We learned early on that we had chemistry and I was so grateful for that. It's like one of the few magical things about film that still exists.

We have so many American and English films in Australia that we hear those accents often, so they're not too hard to pick up, but it's always a challenge.

We have to look forward and keep filming new films and not get stuck in the past.

We just constantly worked on second Saw film, it's not an Academy award level film, but we worked as hard we could to make it plausible.

We live in far too permissive a society. Never before has pornography been this rampant. And those films are so badly lit!

Well consciously what we were doing when making the film was, we really wanted to make sure it was a film about - in our mind it was never really a sequel, it was its own movie going forward and it's why the movie doesn't have a number by it.

Well, I guess what's caught on film is caught on film, and it would be hard for me to stand here and say that it wasn't, you know me.

Well, I am from India and I wanted to make films in English for the international market in India. So that was really the main thing, and then of course economically it was cheaper to make films in India.

Well I'm not much of a singer. But it's been a really nice time to do film, television, theater and have it all happening at once. That wasn't planned but it just happens.

Well I think always, when you remake films, I always think the first one is most original, authentic.

Well it's always been an element of the horror film to show us the gross out. I mean that's one option for all filmmakers making a horror film and it's not something I've found myself above either.

Well, it was the beginning of my film career. It was amazing to me that I got nominated for an Academy Award.

Well I was on the jury duty on the Deauville Film Festival, a few years ago.

We petitioned to get access to film [Suffragette] at the Houses of Parliament and we whooped with joy when we were allowed in, as this is the first ever commercial film to shoot there.

Well, there's two things I have criteria for doing a film: The script, which is the story, and the filmmaker, and it's a filmmaker's medium. I like really strong directors, and so when I do a film, I'm out there to serve the director, really, which is in turn to serve the script, to serve the director cause he's the one making the film. I relied on Todd Haynes for that.

Well that's the point: People don't normally take away things from films anymore. You go and see a $100 million film, half an hour later, your biggest concern is what are you going to be eating.