Best 3577 quotes in «film quotes» category

How may a mortal, face and defeat the Kraken

I broke up with this girl, and they put me with a psychiatrist who said, 'Why did you get so depressed, and do all those things you did?' I said, 'I wanted this girl and she left me.' And he said,'Well, we have to look into that.' And I said, 'There's nothing to look into! I wanted her and she left me.' And he said, 'Well, why are you feeling so intense?' And I said, 'Cause I want the girl!' And he said, 'What's underneath it?' And I said, 'Nothing!' He said, 'I'll have to give you medication.' I said, 'I don't want medication! I want the girl!' And he said, 'We have to work this through.' So, I took a fire extinguisher from the casement and struck him across the back of his neck. And before I knew it, guys from Con Ed had jumper cables in my head and the rest was...

I don't know a lot of stuff. - First I know that there is Paradox! - Second it's like a faith! - And Third It can't be changed! (Paradox 2016 - Film)

I don’t need a medal to tell me I’m a good guy.

If a Writer births the baby, then a Producer raises the child and sends it off to school.” ― Rona Edwards, I Liked It, Didn't Love It: Screenplay Development from the Inside Out

If you can film an idea in your mind, follow that film idea shot for shot, scene for scene, that idea is worth making.

If you can't explain it better leave it... (Dexter Season 2....)

If you're early, you're on time. If you're on time, you're late.

How much you are close you see less!

How promising today's generation is. They can whip out their cellular phones like sheep, instantly take a million digital photos of their cat and then just delete them. But I'd like to see these kids try to artfully use a traditional film camera or make a super 8 home movie. Traditional film takes integrity, nostalgia, effort, patience and imagination - things that the 21st century has very little of. Everything these days, even a superior medium like film photography with an extensively vivid history and an iconic meaning, is becoming disposable in this age.

How you feel after watching something indicates not what you watched but where you are at.

I admire nudity and I like sex, and so did a lot of people in the Thirties. But, to me, overexposure blunts the fun…Sex as something beautiful may soon disappear. Once it was a knife so finely honed the edge was invisible until it was touched and then it cut deep. Now it is so blunt that it merely bruises and leaves ugly marks. Nudity is fine in the privacy of my own bedroom with the appropriate partner. Or for a model in life class at art school. Or as portrayed in stone and paint. But I don’t like it used as a joke or to titillate. Or be so bloody frank about.

I don't know.  I don't really like old movies.  The acting is so, 'Hey buddy, ol' pal.  Let's go wear our hats and have a big misunderstanding

If a fleet of jet-black CHOPPERS ain't cresting over a back-lit hill by the end of Act II, you've got to start asking yourself whether this is a movie or a fucking art installation.

If a picture is worth a thousand words then, film is immeasurable speech.

If everyone knows so much about it, why do they need to make a documentary?

If I know the end of a book or a film I want to know why it happen...

If Stalin gives you a love advice, it has to succeed.

If Wagner lived today, he would probably work with film instead of music. He already knew back then that the Great Art Form would include a sort of fourth dimension; it was really film he was talking about.

If you can film an idea in your mind, follow that film idea shot for shot, scene for scene and enjoy it, that idea is worth making for the world to see. It can change someone's life.

If you think that you can hide what your interests are, what your prurient interests are, what your noble interests are, what your fascinations are, if you think you can hide that in your work as a film director, you're nuts.

I got hold of a copy of the video that showed how Saddam Hussein had actually confirmed himself in power. This snuff-movie opens with a plenary session of the Ba'ath Party central committee: perhaps a hundred men. Suddenly the doors are locked and Saddam, in the chair, announces a special session. Into the room is dragged an obviously broken man, who begins to emit a robotic confession of treason and subversion, that he sobs has been instigated by Syrian and other agents. As the (literally) extorted confession unfolds, names begin to be named. Once a fellow-conspirator is identified, guards come to his seat and haul him from the room. The reclining Saddam, meanwhile, lights a large cigar and contentedly scans his dossiers. The sickness of fear in the room is such that men begin to crack up and weep, rising to their feet to shout hysterical praise, even love, for the leader. Inexorably, though, the cull continues, and faces and bodies go slack as their owners are pinioned and led away. When it is over, about half the committee members are left, moaning with relief and heaving with ardent love for the boss. (In an accompanying sequel, which I have not seen, they were apparently required to go into the yard outside and shoot the other half, thus sealing the pact with Saddam. I am not sure that even Beria or Himmler would have had the nerve and ingenuity and cruelty to come up with that.)

I guess if there’s one thing I can say about the 21st century, it’s that the 21st century is all flash and no substance… everything is digital, nothing but files of invisible electronic data on computers and mindless zombies on their cellular phones… it’s sad how because of the digital age, society is ultimately doomed. Nothing in the digital age is real anymore, and you know, they say celluloid film and ray tube televisions and maybe even paper might become obsolete in this century? …What’s most annoying is that nobody cares, they’ve just learned to accept the digital age and get addicted to it… none of them are ever going to step up and say to the world, “you’re all a bunch of sheep!” and even if they did say anything, I doubt anyone would listen… they’re all too obsessed and attached to their cellular phones and overly big televisions and whatever other moronic things they’ve got these days… it almost makes me want an apocalypse to happen, to erase digital technology and force the world to start over again.

I guess I could be pretty pissed off about what happened to me, but it’s hard to stay mad when there’s so much beauty in the world. Sometimes I feel like I’m seeing it all at once, and it’s too much; my heart fills up like a balloon that’s about to burst. And then I remember to relax, and stop trying to hold onto it. And then it flows through me like rain, and I can’t feel anything but gratitude—for every single moment of my stupid, little life. You have no idea what I’m talking about, I’m sure; but don’t worry….you will someday.

I grew up in an era that was a golden age of the blockbuster, when something we might call a family film could have universal appeal. That's something I want to see again. In terms of the tone of the film, it looks at where we are as a people and has a universality about human experience.

I just got another kitten, you know. Found another trademark. It's quite embarrassing I missed it." "Nine cats? They can send you to prison for that." He pushed his glasses back on his nose. "I'm calling him Murad, after the cigarettes." "Never heard of them." "They're an obsolete Turkish brand, popular in the 1910s and '20s. Murad means 'desire' in Arabic. The only brand that ever appears in a Cordova film is Murad. There's not one Marlboro, Camel, or Virginia Slim. It goes further. If the Murad cigarette is focused upon by the camera in any Cordova film. The very next person who appears on-screen has been devastatingly targeted. In other words, the gods will have drawn a great big X across his shoulder blades and taped an invisible sign there that reads FUCKED. His life will henceforth never be the same.

I leave this as a declaration of intent, so no one will be confused. One: "Si vis pacem, para bellum." Latin. Boot Camp Sergeant made us recite it like a prayer. "Si vis pacem, para bellum - If you want peace, prepare for war." Two: Frank Castle is dead. He died with his family. Three: in certain extreme situations, the law is inadequate. In order to shame its inadequacy, it is necessary to act outside the law. To pursue... natural justice. This is not vengeance. Revenge is not a valid motive, it's an emotional response. No, not vengeance. Punishment.

I look at the world and I see absurdity all around me. People do strange things constantly, to the point that, for the most part, we manage not to see it.

I may not find the meaning of life in books, art and movies but I do find the meaning of my life in them.

I met my agent, Sol Leon, for lunch at the commissary, and talked through my concerns. He asked the obvious questions: What kind of films did I want to make? Where did I see myself going in terms of movies? What sort of scripts should he look for? “I’ve thought about this,” I said, “and I’m pretty clear on it. I only want to make movies that my children can see.” “Only kids’ movies?” he asked. “Not kids’ movies,” I clarified. “I want to make movies that I can see with my kids and not feel uncomfortable.

Improvisation is the power of spontaneous observation.

In America, they have this thing called a story cycle. When they're at war, they start doing fantasy and war-style entertainment. When fantasy gets big, they go through a recession, and horror starts gaining popularity. When horror gets popular, mystery starts gaining popularity. Then when mystery reaches its peak, science fiction starts gaining popularity. Then things get rough again, and we go back to Fantasy". This quote was taken from an interview from The Myth of Cthulhu: Dark Navigation.

In America, film is the highest form of art that the public aspires to. People will come to me and say ‘Oh, your book was so good, they ought to make a movie out of it!’ To which I reply ‘Well, why? It’s already a book.

I never adapted anything. Beautiful books are beautiful books, that's it. I don't know why we should transform them. I have respect for literature.

In movies, war only looks romantic. “Tell my gal I love her…” close-up shot, and fade out. It doesn’t work as beautifully and neat in real life. Flying chunks of human flesh and screaming orphans really put that Hollywood take into perspective and there is nothing clean or sterile about any of it. When people die, it’s fucking horrible.

In many ways, the work of a critic is easy.

I hear you in the morning sun.

In this image-driven age, wildlife filmmakers carry a heavy responsibility. They can influence how we think and behave when we’re in nature. They can even influence how we raise our kids, how we vote and volunteer in our communities, as well as the future of our wildlands and wildlife. If the stories they create are misleading or false in some way, viewers will misunderstand the issues and react in inappropriate ways. People who consume a heavy diet of wildlife films filled with staged violence and aggression, for example, are likely to think about nature as a circus or a freak show. They certainly won’t form the same positive connections to the natural world as people who watch more thoughtful, authentic, and conservation-oriented films.

Intuition is truth.

In the end, everything is found to be wanting.

Is everybody in? Is everybody in? Is everybody in? The ceremony is about to begin. The entertainment for this evening is not new, you've seen this entertainment through and through you have seen your birth, your life, your death....you may recall all the rest. Did you have a good world when you died? -enough to base a movie on??

Is every writer's keyboard a spill magnet?

Is there any moment in time when you‘re doing something better than watching Predator?

Is there any moment in time when you‘re doing something better than watching Predator/i>?

Is there a support group for people who didn’t like ‘Brokeback Mountain’? We must, if the rave reviews and the newspaper reports are to be believed, be a very tiny — not to mention vulnerable — minority. Am I dead inside because I didn’t experience the torrent of emotions I’ve been reading about? Am I as emotionally crippled as Ennis because I didn’t blub and hug after sitting through this ‘visceral’ movie, but instead wanted to go and ‘help with the roundup’?

I submit that the real reason we criticized and disliked Lynch's Laura's muddy bothness is that it required of us an empathetic confrontation with the exact same muddy bothness in ourselves and our intimates that makes the real world of moral selves so tense and uncomfortable, a bothness we go to the movies to get a couple hours' fucking relief from.

In the era of angry and aggressive policing, it is an honorable service to your fellow citizens to video record police officers interactions with the common people.

It ain't the picture and it ain't the camera - it's the operator.

It doesn't do any good to say, 'This is what it means.' When you are spoon fed a film, people instantly know what it is. I like films that leave room to dream.

It is a quintessential example of the whirling kinetics that drive a Keaton film, in which not just the medium but the human body- the permutations of the sinews, the shock of the limbs -seems infinitely elastic, an unruly instument to be wilded with a cheeky kind of grace.