Best 3577 quotes in «film quotes» category

'The Jungle Book.' It's one of the best animated films ever. I saw it when I was small at a cinema in Tehran.

The key relationship for writers in film is producers, because those are the first two people involved and the ones who work on it intensely in a private way without the big machinery of film.

The language of film is further and further away from the language of theater, and is closer to music. It’s abstract but still narrative. Everything feels less rehearsed. It’s more experimental than classical.

The lifeblood of my career has been independent film.

The least consideration of any film I've ever worked on is who is right for it.

The Loved One has been the most underrated film I've worked on.

The Lego Movie: Merely a great film, or the greatest film ever in the history of cinema?

The main problem is that the Hollywood system has already made the film before the director shoots a single frame.

The magic of film isn't just because of the big screen, or the acoustics, but the ineffable shared experience of going to the movies.

The lowest budget U.S. films are ten times times better (than shooting in Tibet).

The magic of documentary is that I keep being surprised and amazed by the things I film.

The main jokes in this film are about big things, love and life and zombies - we all get that.

The mainstream usually follows trends, it seldom sets them except for a few films.

The main thing for me is just the length of time it takes to make a movie. It's at least a year of just talking about it, talking about it with yourself or your director or your other castmates or the press, so you just want to make sure it's a film that although you initially feel this pull or this drive to it, you don't really have the answers to why you're drawn to it. But it's more about not knowing the answers to certain questions but wanting to go on the journey of discovery to find the answers.

The more that I see the sexism and misogyny that's coming at me from every direction, the less I think my films have anything to do with sexploitation.

The message of [Fahernheit 9/11] is very weak and propagandistic ... We were used to such messages in the communist days. Everybody has open eyes and can understand that this is propaganda. It was a weak film that tells us nothing new.

The more times people laugh, the better the film is.

The majority of work I do is in independent films, where you're lucky if you have five takes.

The more sincere I could be, the better it would be for the film.

The more we can be honest about ourselves as filmmakers, than the more we can be honest with people who see the films.

The Movie is something that I made with some friends of mine in L.A. My friend, Luke Eberl, is the filmmaker. He shot this movie and asked a bunch of his friends to be involved with it. I just saw him the other day and there is no money to finish the film. But, you know, I literally have a cameo in it.

The most embarrassing part of the film is that the new problem posed by simulation is confused with its classical, Platonic treatment ... The Matrix is surely the kind of film about the matrix that the matrix would have been able to produce.

The most difficult thing is that I don't speak Mandarin and I had this experience - of working in a language that I don't understand - before and it's really horrible. Eighteen years ago, I played a mute in one film because I couldn't speak Mandarin. There was another film where I had to speak Vietnamese. It's horrible!

The most serious film can be the most fun. The one that's supposed to be fun can be the most serious.

Then, early, early, early in the morning-just as in countless Disney films-I heard a rooster crow. But guess what? They don't do it just once.

The nature of motion capture is only going to work for certain films. It's not going to put any other type of movies out of business.

The music in a film like this is as critical as anything because Kong is mute. He doesn't talk.

Then I became interested in drama, and almost by accident, I drifted into film.

The nice part about not being a huge film is that you get to goof around a bit more.

Then in college I became obsessed with film, and wanted to be part of that.

The nerds are the ones that make the films and do loads of other really cool stuff in their life.

(The Nutty Professor) was a labor of love. It was a total film. It was the most productive, creative work of my life.

The new film I'm shooting in Jerusalem - which is partly why I'm here in Israel - is something I co-wrote.

The older I get, the more I'm drawn to the smaller films, but I still hope to keep bigger films in my repertoire. It's just maybe going to be a shift in focus, but I'll definitely still hopefully be kicking around in those.

The only difference from one $100 million budget film to another is which of the 12 box stars are getting $20 million to be in it.

The only fear I have is that I will wake up one day and nobody will allow me to do films. This is a fear every actor has.

The only music I've ever written was for a film called Frank, and the idea was that it was the worst music in the world.

The only genre I have any problem with is musicals, but that's just my own tastes it's nothing to do with the films.

The only distinction I'd make is between film and telly, I guess. "Film," "movies," and "cinema" are all synonyms as far as I'm concerned; but telly is different. It's just a plodding we've-done-this-scene, we've-done-that-scene and it never becomes this new other thing.

The only thing I really wanted was the freedom to be able to get what I want on film. I’ve dealt with the MPAA since 1973, so I know how to renegotiate and rework.

The only time I use women in films is when they're naked or dead.

The only tool we have as artists is selectivity. If you're a painter, you select the color, the lines, how severe they should be. As an actor you develop how angry you should be. You select how angry you should be. You listen to the other actor and then you react. In film, sometimes the other actor isn't even there. You have to play the scene. What I do is I call on my experience on the stage. I play the scene and I hope that I reach a certain level of integrity because that's what I learned on the stage.

The only time I'm totally happy is when I'm watching films or making them.

The only way to ensure a film is going to sell is put Will Smith in it and you open it in 3,000 theaters and make sure we have all the top promotional spots in each venue.

The only way you can learn about making films is by making them, by putting your stamp on the thing.

The only purpose of the visuals, in any film, is to serve the story.

The outraged citizens of Indonesia - lawyers, doctors, engineers, scientists - should be speaking up; they should be shouting. And of course, the voices of farmers and workers, their terrible stories, should be read and heard from the pages of independent magazines and blogs, from YouTube and independent films.

The people green-lighting films or TV series often want household names, but the smart ones realize that there are lightning rods who can make things happen, and they aren't necessarily the ones who are celebrated.

The play has to work for the super fans, and not speak down to them, and yet it had to play to those people who maybe had never read a Harry Potter book or seen the films.

The possibilities are endless for me - Broadway, TV, music and film.