Best 3577 quotes in «film quotes» category

My film directorial career has been nothing but repetition of one failure after another!

My films are an extension of my poetry, using the white screen like the white page to be filled with images.

My films are often characterized by the lack of women present in them, except for this last one [Once Upon a Time in America].

My films are the expression of momentary desires. I follow my instincts, but in a disciplined way.

My films are always concerned with family, friendship, honor, and patriotism.

My films have always been considered the benchmark in action. I have a big responsibility to shoulder.

My films have elements of genre in them, which prevents them from being purely art films.

My films really have to be a part of a whole body of work that says something to me.

My film (Black Venus) had been very emotionally draining and difficult because I had identified so much with the lead character, Saartjie Baartman.

My film is in French. It's not something folkloric. It's who we are. There's this tension about immigrants coming in. Will they learn French? Will they adapt? In this film, I'm on the reverse side because Monsieur Lazhar comes from a society where French is also the second language.

My films are a form of psychoanalysis, except that it is I who am paid, which changes everything.

My films are of paramount importance to me, the same as my family. That's not going to change. This is a balance I have to strike throughout my life.

My films don't have instant impact because they're dense with ideas that people have not thought about. It takes a while for the American public to wrap its head around some of the things I'm saying.

My films have to do with justice and many, many other concerns. That's the sad part of coming from my generation, and having been boxed in by those words like "identity.

My films seem to be better understood and better received by the monthly publications. On television the first reactions are usually unfavorable.

My first film, 'Vanishing on 7th Street,' I really just kinda went in for it. Just gave it my all at the auditions.

My friends and I started making films when I was still in kindergarten.

My function is to make whoever sees my films aware of his need to love and to give his love, and aware the beauty is summoning him.

My good friend Josh Bibby happens to be a pro skier and has used my music in 2 international ski films.

My goal is to keep making films and grow as a film maker; that's always my goal.

My goal is to make as many films as possible about different aspects of American life.

My good films were independent and my bad films were not.

My home in Hollywood is not a home. I do a film here, a film there, as they want it. I don't have a relationship. Like, Warner Bros. has a great relationship with Clint Eastwood and takes care of him.

My inspiration can come from anything - films, the street, paparazzi pictures.

My job is going to be to direct the film - I'm going to do it. And that's where my job ends.

My job is just to make the films and then I don't have any strategy.

My intention is to do more films.

My job is — I make socks. That’s all I do. I don’t necessarily care about the show. I would rather film this — me doing what I do — than being around my family.

My interest in music tends toward being orchestral music. And the repertoire of music that exists is, to me, far more emotive than what is standardly used in movie scores. That isn't always. I think there've been some excellent movie scores by excellent directors. But for the most part, watching a film, one of today's movies, I think that the emotional undertone of movie scores is pretty poor.

My job scoring a horror movie is like being the barker at a carnival. A good barker can get anyone to walk into the roped-off tent. Especially with the main title, my job is to convince the audience to take the leap into the film even though their better sense is telling them, "I should put my popcorn down and get the hell outta here"!

My knowledge of horror films is pathetic because I can't really watch them.

My kids get very upset with me when I leave to do film work, but they have a lot of patience with me when I leave to do environmental work.

My line-learning is very special. I like to learn the dialogue of the whole film before I arrive.

My main aim has always been to do good quality films with roles that have some substance. With Power and Beauty there were loads of things that I liked about the movie, which made me opt for it.

My M.F.A was in directing, and all the films I've made, for film school and after, I've written, directed and shot.

My mother did movies from the New Wave, but I was quite shocked I didn't know much about that period. Bernado showed us film of the demonstrations of the time.

My movement from painting to film was a very conscious one.

My mum never understood how much I earned. When I told her I earned a million pounds a film, she said, 'How much is that?'

My nickname is Bondy. But not because of the Bond films - it was my surname a long time before I did those.

My original goal was just to do stand-up but then I became interested in films - writing a film, shooting one someday, and getting to act in them.

My own sense and taste in 3D films has been I don't really like it when it feels like it's a gimmick and it's coming at me, it's flying at me.

My partner, Beth Alexander, and I want to produce smaller films, but commercially viable films that will enable me to make the kinds of movies I want to make.

My personal problem is that I take the business of film-making so seriously that I find it very difficult to relax.

My plan was to stay in Canada to make films.

My producers give me total freedom. No one asks me for anything; they just tell me to make a good film, and that's what I do.

My point was that it's hard to make good films, but I'm not under any illusion that you do all the time.

My process differs... my process for a Richard Linklater film is very different than a process for Training Day.

My reaction to 3D is subtly. Things don't come out at you, but rather you - The audience come into the film.

My private life has nothing to do with my films.

My protest against digital has been me saying, "What's going to happen to film?" The result is that Kodak is out of business. That's a national tragedy. We've got to keep making film.