Best 3577 quotes in «film quotes» category

We thought by setting the film ["Selling Isobel"] in the cloak of... let's call it an indie-Hollywood thriller, it would appeal to a wider range of young women who would see this cautionary tale and say, "Hang on, I've got to think twice about what I get myself into.

We've evolved from sitting back on our tripods and shooting wildlife films like they have been shot historically, which doesn't work for us.

We've always been observant of things, and I think Crackdown was very much like that and the film interpretation was that journalistic view of that situation.

We've got people looking at our seamy side and our sad side a lot of the time because that's easier. It's much more difficult to make a film about happiness with lots of jokes in it.

We wanted to make sure that the film covered the main issues of his life. Musicianship, appearance.

We were both [ with Russel Crowe] hand-plucked to do [The Quick and the Death]. He had done Romper Stomper and I had done Gilbert Grape and so we were hand- plucked to do this big budget film. So we were both very bright-eyed and bushy-tailed.

We were in another planet and we were reaching for something closer to a fable. It was something fabulous. I started looking at the film as if it happened in another planet and that allowed me even more freedom.

We were very clear that this film's [Young Adam] so much about a relationship that's borne out through the sexual contact, and that that's the way they communicate.

We were talking about television one time, and Damon Lindelof said he felt that, if Ernst Hemingway was writing for media, he would write feature films, and Lev Tolstoy and Fedor Dostoyevsky would write television series because there are some stories you just can't tell in two hours.

We work in an environment where your options are to do, you know, Batman 10, so when you get to do a movie that's a really great film like this, people really step up to the plate and enjoy it.

What Bollywood lacks is scripts. A lot of the films are copies of western films.

What critics call dirty in our pictures, they call lusty in foreign films.

Whatever affect any of my films have on audiences, I just kind of stop at the door. I make them and I just don't go outside after they're over.

What do you spend $200 million on, with a film? I can't wrap my brain around that one.

Whatever I am, I'm not as bad as the person that read the novel before watching the film. I'll enjoy whatever they [producers] are putting in front of me. If they made an attempt to get things right, then I'll criticize them for what they got wrong. If they made no attempt to get things right, and yet they stumble on something that's right, I'll comment on what they got right.

Whatever the reasons, 2008 it felt as though the combination of distribution models starting to tighten and the publishing and film and music industries having to revolutionize themselves to catch up, and understand how this is going to work in the new millennium has made it a lot easier to pursue multi-platform careers. It's much easier to hire one person who can do three or four different things than one specialist in that field.

What goes down on film is different to what you see with the naked eye.

What happens between action and cut for me is a blur, I go almost into a whiteout, and then I see the film and I'm like, "Oh that's what I did? Cool!

What happens to me is that I am first and foremost a film geek.

What I do feel is that 'Up in the Air' is the most indicative film of 2009. It is the portrait of 2009.

What I learned from this movie, 40 Days and 40 Nights: Abstinence can be a very good thing. Especially from box offices where this film is playing.

What I like are films that take me seriously, that don't treat me as more stupid than I am.

What I learned is that I should probably read a screenplay every once in a while before I said 'yes'. You could make bad film out of a good script, but you're never going to make a good film out of a bad script.

What I had to say was, in general, I'm not really a fan of any one genre of any kind of film.

What I like about film is it explores imperfections.

What I love about sci-fi is that every generation's films are based on what we know at that point in time. We make movies about the future, but it's always based on what we have. Then, as science grows and we discover new things, so do our ideas.

What I'm doing is making an action-adventure film of mythic proportions.

What I'm really focused on is the majesty of the best films I see are films that don't panhandle for an extra laugh later, but actually deliver the goods. And when the screen goes black, you go, Yes.

What is exciting today is that with technology filmmaking has been democratized, and so many more people have access to making a film.

What is good is what it's going to lead to, like the song "Jai Ho." If good numbers are going to come in the future, it bodes well for a lot of things. But then, who's going to maintain that. That's the question. So far they could never lead to an Indian song, like a normal film song in this that they can relate to.

What keeps me interested--and it always does--is how can she be a bad actress on film but a good one in reality?

What is the difference between a celebrity and a not so celebrity? It's probably just one film.

What is generally referred to as American-style films are, in fact, studio productions.

What is the point of making the film if the man doesn't marry the girl?

What I've observed is that television in the last decade has increased to something that's almost unrecognizable. They are feature films. That's a huge shift, and it's something the audience expects. They still may want to watch their half-hour sitcom, but when they watch scripted drama, they expect the standard.

What my previous film 'Paper Tigers' have proven, is that it can point toward helpful tools for change.

What's funny is that with my comedies I don't believe they're my best screenplays necessarily. They're just the ones that I wrote that I knew I could get financing, you know? I believe my other films could be better, but right now they're not being made. But they will eventually.

What really shocks me, what I can honestly sit back and ponder for hours in a lot of cases is just, 'Why would you film yourself doing that? Who put you up to that? What are you getting out of that?

When a certain show or film or celebrity captures the imagination of the masses that has a good deal to say about us, I think, and what is happening in our collective psyche.

What switched me to films was the flood of American pictures into Paris after the Liberation.

What's the good thing about being an actor, you can do more things. Not just being a comedian, not going overboard but expressing myself within the confines of a film.

What you're really after when you see a film or listen to a song is a singular vision, and I'm not sure how much of that you really get in Hollywood.

When a filmmaker does not make films it is as if he is jailed. Even when he is freed from the small jail, he finds himself wandering in a larger jail. The main question is: Why should it be a crime to make a movie? A finished film, well, it can get banned but not the director.

When a film like Chris Nolan's Memento cannot get picked up, to me independent film is over. It's dead.

What you try to become is a bringer of magic, for magic and the truth are closely allied and movies are sheer magic ... when they work, it's, well, it's glorious.

When American producers see my film, they think that I had a big budget to do it, like 23 million. But in fact I had 10 percent of that budget. I did Mars et Avril for only 2.3 million.

Whenever I don't get injured, the film is a dud. I didn't bleed on 'Rhinestone.' I didn't bleed on 'Stop! Or My Mom will Shoot.'

Whenever I see a cut of a film and something is gone, I don't notice it unless it obviously should have been kept.

When I begin a film, I want to make a great film. Halfway through, I just hope to finish the film.

When I am told that I am a huge star, I accept it, knowing that success is relative - the films I do have to work.