Best 3577 quotes in «film quotes» category

But I won't work with the exact same crew film after film because I feel the work would get a little complacent.

But my sense in talking to people when I travel is that the film business is not that dissimilar from a lot of other businesses.

But Mary Elizabeth felt different. She kept saying it was an "articulate" film. So "articulate." And I guess it was. The thing is, I didn't know what it said even if it said it very well.

But no one should have the right to manipulate my films in the first place.

But the process of making a film is not glamorous. Certainly not my films.

But one of the hardest things for me to do was to access anger. I could do it on stage. But when I did it on film it was hard for me. That probably has to do with the intimacy of film. And my own personal issues with expressing anger. So I had to learn how to do that.

But there are still only certain film genres where a woman can stand out, be heroic, be the centerpiece.

But now I wish I could back to Stockholm to make international films there.

By drawing or exposing two or more patterns on the same bit of film I can create harmony and textual effects.

But the truth is, at some point, our films - almost every single one of them - are really bad. And it's largely hats off to John Lasseter and Ed Catmull who have set up a system whereby they're expecting it.

But you know, there's always a danger nowadays that films are gonna be brought up to Canada for budget reasons. And that's something that really concerns me.

By its very nature, film is supposed to be an accessible medium to everybody.

By the time you arrive at Sundance as a filmmaker, you've been living with your film intimiately, and scrutinized every frame, and probably aren't happy with - or at least I'm never happy with it - and you've seen it in the roughest of states, and you lose perspective, really.

By far, the content of Canadian films. You're able to push the envelope in ways you can't in the U.S., I find. But also, because of the budgets and everything, it's all condensed, quick, and short.

Casting a film, you can have the greatest actors in a film and it doesn't work. It's a combination of all of the elements.

By the usual reckoning, the worst books make the best films.

Certainly what constitutes a stage actor, what constitutes a film actor, I don't even know what that is. And both things are very accurate, in a sense. In terms of people's needs to concentrate on race, I wonder if it's completely necessary, but it's not something that is so dynamically relevant to me that I feel it should be one thing or another.

Certainly, a lot of the films I've worked on have ended up good movies, but they haven't always been the best experiences

Certainly my films are cinematically unusual, and quite contemplative in their pacing compared to conventional films, but I think overall they are quite engaging, accessible, and even funny.

By nature, I think I am a pretty private person, and that is what is hard even doing interviews for films that I really love doing, because in some ways, it diminishes the experience that I had.

Certain types of films will never test well. My films never seem to test well.

Cinema Paradiso' is a fantastic film, I love that.

Charlie Chaplin and I would have a friendly contest: Who could do the feature film with the least subtitles?

Chemistry on film is like chemistry in real life, it's either there or it isn't.

Cinemas gained new young audiences who wanted films made for them.

Cinema verité is not the film of truth, but the truth of film.

Class is often invisible in America in the movies, and usually not the subject of the film.

Clive [Oppenheimer] and I figured out that I'm the only one probably in the film industry who is clinically sane. I say that as a joke, but there's a grain of truth to it. I'm not a stupid daredevil who jumps into the crater of the volcano to get the closest close-up, I'm not one of those. And you have to be aware that you have a crew with you and you are responsible.

Clearly any film company that makes a film is always going to talk about sequels particularly if they see something as being successful, which Werewolf was.

Cocteau is someone who has made such a profound impression on me that there's no doubt he's influenced every one of my films.

Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.

Comics are essentially films with fewer frames per second.

Composing for concert performance is a somewhat lonely occupation, but composing a film score is highly collaborative.

Console game publishing has become more like theatrical release film-making and it is very hard if you are not one of the major publishers, and even for them it is hard unless they are working with major game brands.

Contemporary audiences, other than those making a deliberate historical leap, would find, say, the 1931 'Dracula' impossibly slow.

Close-Up has affected later films that I've made.

Communists love to make films about composers, because composers compose music and don't talk subversive things.

Compared to a novel, a film is like an economy pizza where there are no olives, no ham, no anchovies, no mushrooms, and all you’ve got is the dough.

Connection is what one is after in probably most media, but certainly in film, which is an immersive medium.

Crewing and being on film sets is kind of like being in the carnival, with carnie folks.

Creating music, visual art, producing music and film are always at the forefront of my life.

Dalton Trumbo actually was [ a hypocrite], because he liked his wealth, which was against the grain of being a Communist. I put title cards at the head of the film that explains the context.

Contrary to what many writers imply about the process, nobody forces a writer to sell his work to the film industry.

David Lynch is démodé now, if you look at his films. I looked at them the other weekend.

Danish film is spreading in a fantastic way.

Definitely it would be foolish to try and make my Czech films here in America, as foolish as it is when some Czech filmmakers try to make movies of America in Czechoslovakia. It was always abysmal stuff.

Critics have never been able to discover a unifying theme in my films. For thatmatter, neither have I.

Digital distribution is a whole other way of communicating with your fans and giving them content at their leisure. It's like, there are people making music in their igloos on their PDAs. You're going to see the exact same thing with film.

Digital has obviously changed things a lot, but not all for the better as far as I'm concerned. Of course it's much more convenient and you're getting instant results, but to me it just lacks the finesse of a roll of film and it has a slightly superimposed feel.

Directing a film was something I was yearning to do. I always wanted to see if I had the capacity to be a good storyteller.