Best 3577 quotes in «film quotes» category

It's often the case with directors that they don't like to share credit, which is the case of Stanley. He would prefer just A Film By Stanley Kubrick including music and everything.

It's obviously a lot more of a political undertaking making a movie in Hollywood and it's a business there. In Australia, they don't expect films to make money; whereas in America they're counting on it.

It's often said that I choose subjects that are sensational! I choose to film subjects that spark difficult conversations and make people uncomfortable. Change only comes about when people are forced to discuss an issue, and that's what I hope my films do.

It's one of the things I love about making films: the places I've got to travel that I would never have gone to before.

It's physically and psychologically exhausting to make a film.

It's rare to have even half-meaningful conversations in the film industry.

It's really hard to make a good film; it's really, really hard. So, the director's very important, and a character that can be described with more than one or two adjectives, maybe with contradictions. Contradictions are always good because that's truthful.

It's rare to find a film that goes for broke and says, 'To hell with the consequences.'

It's really rare for film directors to be that interested in things other than themselves.

It's sad when you say a $30 million film is an inexpensive film, but it is.

It's really interesting making films and actually seeing the life that they have in the subsequent years and seeing which ones stand up over time and which ones sort of fade away.

It's such a commitment, making a film, you're really dedicated, it's your life, that's all you do for that period of your life.

It's the best of the best. No film can hope to top it(Kubrick's 2001).

It's the first time that I've ever had an art show based on a film, but it's a photography collage.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

It's the saddest year in movies. We've got "Manchester," "Moonlight," "Chronic," "Jackie" ... it's sad when "American Honey" is the happiest film of the year and it's about runaways aimlessly trying to figure out their lives with no parental figures.

It's the people that ultimately are less talented or have less confidence in what they're doing that then try to micro-manage, which lends itself to a less than ideal film.

It's tough to get any film made, even if you're Martin Scorsese. It's just hard to get films made.

It's truly gratifying to see my films reach beyond a familiar public, to get a chance to move new audiences. It's nuts. It's extraordinary.

It suits me to be in a series that takes ages to film.

It's very clearly stated in the film: You make your own choices, and what you're always fighting is ego.

It's very easy to get caught up in - there's a hype going on now that I haven't seen in years, and it's actually more about press than it is about an actor's work or what films they've been in.

It's very hard to go to Monument Valley and not think of John Ford's films.

It's very rare to get a film script that has good dialogue. A lot of the time, you spend on film sets really fighting to find out how to say the words.

It's very, very technical, what we do in film. While all of the lights are there and all of the crew members and directors are staring right at you, you have to be honest. It's a very difficult, but technical medium.

It's weathered many a storm, but the British film industry is, thankfully, still afloat.

It's weird when you're watching yourself in a film - you can't really detach yourself from the experiences you've had that day. You're never watching the film as a proper punter.

It's very, very tempting to make a superhero film or show and make it about the powers.

It's very tempting to over-eat all the bad things when you're on a film set.

It takes years to establish yourself, and then you have one big film and everyone calls you an overnight success. You think, 'Christ, I've been sweating and crying for seven years.'.

It [the film industry] is not a glamorous industry. It's really, really hard, and you get told all the time, "You're not this, you're not that," and so you have to find a center.

I turned down the opportunity to be in some films that went on to be blockbusters.

I turned down a lot of things that were so-called commercial. You're coming out of one film, and then they want you to be in the same one.

I turned down a lot of films before I made my first one. I knew that it was time for me to get into movies.

I turned down twelve films last year... Huge money films, but I had no respect for the writer or the work.

I turn up in Los Angeles every now and then, so I can get some big money films in order to finance my smaller money films.

It was a film that I knew, that I had seen, that I was familiar with, but I wasn't anxious about it at any point during the screening. I snoozed twice, and this is something I couldn't have imagined that I would feel detached, as I did with this film [Certified Copy].

It was always something I knew I was capable of and from an early age my mother was involved in the film industry. She used to work at a production company. So I was exposed to a renaissance period of films in New Zealand back in the early 80's.

It was a tough film ["Selling Isobel"] to make anyway, because we had limited resources.

It was a tough experience with Alan Horn, who didn't like anything that was R-rated. So you can imagine he hated some of my films.

It was a small room with dim light coming in the window, reminiscent of old Polish films.

It was a sad thing. I don't know how he learned that.

It was important to me to make a film where I don't show the past but where the spectators can see the past.

It was easy for me to show the films to the studio and the network and say, "This is who I'm hiring.

It was never a deliberate decision to make films about the 'woman experience'.

It was great to work in Ireland because it's such a beautiful country, but it's not particularly easy to film in because the weather changes all the time.

It was lucky that Ralph [Fiennes] is someone who understands both film and theater and we were able to understand that scene so well before we took it to the set.

It was great. I got to hang out with him [Martin Freeman as Bilbo Baggins], and I kept a straight face for a bit and then I started giggling because I know Martin, I don't know Bilbo. For Martin to be sitting there playing Bilbo is amazing. He's going to be amazing, he's going to be fantastic in this film.

It was one of the marvellous feelings of the film, having the music going in your head while doing scenes.

It wasn't just British gangster films that really did for me as a kid, personally, it was British films in general.