Best 3577 quotes in «film quotes» category

When people approach me about my films it is usually to tell me how much they hate them.

When something is based on an iconic film, and we found this out with "The Producers" too, you've got to pay homage to what I'd call the greatest hits. ... People expect certain lines and moments they love.

When the American documentary filmmaker Donn Alan Pennebaker wanted to do a film on Dylan, Dylan asked him what he'd already done, and Pennebaker answered, Nothing except shots in the street. Dylan asked to see them, and he agreed to let him do the film.

When the BBC decided to bring Doctor Who back as a feature film a few years ago, one national newspaper ran a poll to ask its readers who should be the new Doctor, and I topped it.

When the conversation turns too quickly to films,I see it as a sign of weakness.

When the small independent film, which depends on its artistic appeal rather than wide commercial distribution by an MPAA member, is now denied access, the playing field becomes unfair and uneven.

When Tim Allen made The Santa Clause, I thought that was a delightful film. It took a modern sensibility but layered onto it a kind of sentiment.

When we began filming, these people had legs, but as we were filming, they had been injured and they were brought to the hospital to have their legs amputated, and that's where we found them and asked them to come and be part of the film.

When we shot 'The Lord of the Rings,' we had special permission to film in wild areas of New Zealand that could be accessed only by helicopter. They would drop us off and we would work all day, and they'd pick us up and take us out again.

When we travel, we are like a film at the moment of exposure; it is memory that will develop it.

When we talk about how movies used to be made, it was over 100 years of film, literal, physical film, with emulsion, that we would expose to light and we would get pictures.

When working on and writing a film, I'm often more of a sponge than other times, aware of what's going on around me.

When you are making the one you are doing, you think it is the greatest film going. And then you do another one and it is a great film.

When you are making an independent film, money is never an issue.

When you decide to make a film, it's imperative that it's a story you just have to tell...no matter what. If so, then dive in. It won't be 'work'...it will be a thrilling, deeply satisfying experience.

When you do a film, all you want is to make the best film possible. You don't think about Oscars. But it's really flattering. Please, bring it on!

When you do a film, you start to get the character, and then it disappears for a year before it's released and you get feedback.

When you decide you want to make a film, you start listening to everything that anyone has to say about filmmaking and reading everything, and there's a maxim about film being a visual medium, and so you need to make, in a sense, a silent movie and layer on dialogue.

When you do a voice in an animated film, you don't see the finished product at all. You're not animating. You're not doing the voice on the finished product. You're doing the voice long before.

When you do a film, you get picked up in a car, lunch is free. Theatre is really hard, and you get absolutely no money.

When you do bigger films, the financiers take more risks.

When you do films that have multiple sequels, you develop a character for a film.

When you direct your first film, you always start by telling stories that you are familiar with

When you film a reality show, it's so jumbled. They shoot episodes in all orders!

When you drop your guard in films, the acting process compensates. You get lazy and you start acting.

When you finish a film, before the first paying audience sees it, you don't have any idea. You don't know if you made a success or a flop, when it comes to the box office.

When you finish a film, if you believed in your character, you're empty.

When you get into the edit you'll understand what making a film is. You'll see all the things you missed and all the possibilities you have from what you shot.

When you have all the bells and whistles - you've got the big, fancy catering, you've got the big, fancy car service and the big, fancy trailer - it makes it very comfortable and everybody's making a lot of money. But that doesn't necessarily mean you're going to end up with a great film.

When you look at my film you see footage that is unbelievably awesome and beautiful and dangerous looking. It's something that is very, very cinematic.

When you make these films, they become like your children. But at a certain point, they don’t belong to you anymore; they belong to the world.

When you listen to the music, you can also see the film or read the article, and it's all part of the same journey that you get to take with the artist you're interested in. It's a balancing act.

When you make a film and it wins some award at a very select, very difficult festival such as Cannes, it's good for your fellow film directors and fellow citizens too. Because it shows them that this way is a real possibility.

When you know you made a film that people are going to watch, that's just really awesome; you know you did it for something, you know you shot a film for people to watch it.

When you live in Israel, there are restrictions which come from budget definitely. I came to the point where I had shot many fiction, many feature films, but at one point it began to bore me. It was boring because when you're Gordon Willis or when you are a legend of American cinematography, you know that you are gradually building yourself and you can go into bigger budgets and experiment more. In Israel, the budgets are very, very limited.

When you make a film that is based in reality, reality will come up all around it.

When you're acting you always want to come across as if you're not acting. For me, my take is always to have it feel like you're watching someone on film and that comes with a lot of preparation time.

When you produce and direct your own film you havethe somewhat consoling feeling that the producer will kill for you.

When you're doing a film, it's your film and it's, you know, your blood and - is in it along with everybody else's, and it's the greatest picture ever made when you're shooting it. It's only after the critics and then the public say you were wrong that you realize that you were wrong.

When you make a film, you like to run it with an audience. They tell you you're narrow-minded or subjective, or that seems too long, or that doesn't work.

When you make a film you usually make a film about an idea.

When you're at a film festival, you have a rapt and enthused audience and if you can point them to a Kickstarter campaign, that's a great way to leverage that enthusiasm. Even if you don't need finishing funds, it's a way to get outreach funds.

When you're a person of color in white America, you know white people. You know why you know white people? Because you can't enjoy any kind of entertainment if you are not able to humanize white people. If you watch a film and are like, "Oh, this has white people in it? Then I'm not interested," then you can't enjoy anything in America!

When you're making a film all by yourself, that requires you to have quite a bit of a point of view in order for anything to get done.

When you're making an independent film and you care about it so much you do all the prep work beforehand.

When you're on a set it can be very tedious and slow. It's just not as big as when you see it on film.

When you're a woman in your 40s, it's not the best time to do films, because there really aren't that many roles. Then you reach 50 and there are more roles again. Mother parts.

When you're going with a huge dramatic disaster film, try to keep the narrative as simple as possible.

When you're making an independent film what you don't have in time and money you have to make up with creativity and diligence.

When you're so passionate about cinema, the idea to direct your own film is really appealing.