Best 3577 quotes in «film quotes» category

Today, most newcomers from film families are launched in outside films.

Today you have something like A Film by Joe Harry. That is patently asinine and ridiculous.

To decide to film a movie again shot by shot, you must be masochistic to a certain degree because it is a much greater challenge.

To get on screen with the Talking Asshole, quite a feat. And it's certainly going to be a cult film that people will be seeing.

To have a film in America means precisely nothing if you don't have a distributor who stands behind it.

To his credit John Wayne was open about it, he even portrayed a member of the House UnAmerican Activities Committee in a film called 'Big Jim McClain.'

To Kill a Mockingbird' represents Hollywood at its very finest, when a popular film could truly contain a message. It has one of the most moving scores of all time.

To make a documentary is one thing, to make a feature film is quite another.

To make a film and to sell it to the distributors you need a name.

To make great movies, there is an element of risk. You have to say, 'Well, I am going to make this film, and it is not really a sure thing.'

To make a film is very difficult - it doesn't make a difference whether you are a man or a woman

To make a film, the final big collaborator that you have is the composer.

To me, length is an artificial and arbitrary factor in a film.

To me, it's a very moral film. If my son were a teenager now, I would drag him to see it.

To me, photography is 90% a retrospective experience. There's the part of pursuing the image, and exposing the film, but once you make the exposure, you're always looking backwards in time. I like that aspect of photography.

To me, the most interesting approach to film noir is subjective. The genre is really all about not knowing what's going on around you, and that fear of the unknown. The only way to do that effectively is to really get into the maze, rather than look at the maze from above, so that's where I sort of come at it.

Tom Hanks hits a new career peak. One of the best films of the year.

To me there's very few actresses who've had twenty years experience who have that cyberpunk aesthetic already baked in. Scarlett Johansson comes from such edgy films from Lost in Translation to Under the Skin - she's got an incredible body of work and the attitude and the toughness of her really is to me, the Major.

To me, the screenplay only becomes the Bible of the film after the actors have been cast.

Too many films today feel formulaic and familiar. I prefer it when the familiar is made to feel strange.

To paint comic books as childish and illiterate is lazy. A lot of comic books are very literate - unlike most films.

To read a newspaper for the first time is like coming into a film that has been on for an hour. Newspapers are like serials. To understand them you have to take knowledge to them; the knowledge that serves best is the knowledge provided by the newspaper itself.

Toronto Film Festival is one of those festivals where there are 400 movies, and unless you have a distributor who is super confident and puts a lot of money into it, sometimes movies can go unwatched or unnoticed.

To shoot a film is to organize an entire universe.

To see the films coming out of France is to break into a vast treasure and become liberated.

To sit through a film where you're just unmotivated to be interested in a character is probably the worst thing that could ever happen.

To tell you the truth, I'm not unhappy about it. I'm not even sure that I like the idea of adapting novels into films. It's very difficult to do, and it usually doesn't work. There are exceptions, but generally speaking, one feels disappointed with the result.

To think of a film from the point of view of a tank barrel is already so inhumanly positioned. This is when film can reveal itself scandalously.

To work effectively in a film, you have to repeat and work consistently. Basically, you shoot a big master then you do close-ups. You're supposed to be in the same moment, the same 30-second moment, for a day.

Toy Story 1, 2, and 3, to us, are some of the greatest films ever made, and each is better than the one before it. But if you go to Toy Story 6, they all end up decomposing in a trash heap somewhere.

Traffic is one of the most powerful films to come out in recent years. It blew me away.

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

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

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.

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.

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.

'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.

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

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.

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

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

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.

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.

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.