Best 3577 quotes in «film quotes» category

While we're working on the script, I never see any films. I make it a point because I don't want to get distracted. I don't want to be influenced, and before I know it, have somebody say, "My God, she plagiarized that line.

Who better than an Irishman can understand the Indians, while still being stirred by tales of the US cavalry?

Who says that actors are cattle? Show me a cow who can earn a million dollars a film.

Why do a crappy film role when you can do a meaty stage role? and ...I'm not small and curvy and I don't fit the prerequiste for small, passive, sexy chicks.

With a film, things constantly have to go up in the story, and you're constantly putting pressure on the main character. It allows to go really deep into what its relationship is.

With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.

With a book you can read the same paragraph four times. You can go back to page 21 when you're on page 300. You can't do that with film. It just charges ahead.

With a film, I do my best to understand the author's intentions and try to bring the characters to life.

With all of my films if I get one bad review and a bunch of good reviews the bad one is the only one that will stay with me, which really sucks!

With films, you completely immerse yourself in a character, get into who they are, live it and then release it.

With journalism, films always have to be to do with some personal statement of your own. As a general rule, I resist that. In the States, a question that kept coming up was this: how can you, as a man, talk about three women?

With Kubrick and most film directors, they are in complete control, but one can influence them.

With independents[films] you sort of make them on the go and there is that little bit more creative freedom. You don't have the money to slow down!

With music, you can portray a certain thing, but in film, sometimes you have to let yourself go to a point where that can be attractive to a person, that you're willing to let yourself go that much. It works both ways.

With me it started as a child, going to the theater and being totally transported but also walking out of the theater thinking I was the protagonist in the film and reenacting the scenes.

Without chiropractic care, I couldn't have existed with my work as a TV and film actor.

Without psychology, the horror film doesn't exist.

With some films you can sort of slide in, get a haircut and you're in.

With the black and white films, one was concerned with tone... You had to make sure that the tone of your dress was not the same tone as the curtains, for instance.

With television you are producing hours and hours of music and for film it is a shorter experience for both the audience and for you as a composer.

[With theater] you draw the audience into the room as best you can, and in film, you can draw them into the room, you can draw them outside into the desert, you can take them out into the ocean, you can do all these amazing things.

With the black and white films, one was concerned with tone.

With the Ford Foundation grant all of a sudden instead of being an artist that had made a couple of short films, I became a filmmaker who dabbled in the arts.

With the right movie, 3D can enhance the experience. Absolutely, it can make a good film a great film. It can make a great film a really amazing film to see .

With the Internet, kids today learn things quicker than we do and they have everything there is to see, so you have to do more than just remake some old '70s film

Women have to take more control of their careers. They can't just wait to be cast in a film.

Working with Terry Gilliam was magic - I've been watching his films since I was little.

[ Woody Allen] persona in the films are so iconic; it's like on par with Groucho Marx or something like that.

Working in films, there are hundreds of odd moments.

Working with Marilyn Monroe on The Misfits (1961) nearly gave me a heart attack. I have never been happier when a film ended.

Writing and directing your own film, for me, has been the best experience of my life.

Yeah, I'd like to get the girl and at least make it through the film.

X-Men films have always been big, and necessarily so, because of the stories they have to tell.

Yeah, Dundee was great. It was a great film. I fell in love with my Mexican wife on Dundee.

Yeah, I'd be happy to go back to Mexico or Japan to make another film.

Yeah I think Pitch Black was edgy, I think that's what worked for our film.

You always have to appeal to your audience. You always have to consider how well your project will do in terms of admissions. I abandoned many stories because of that. But I don't get too down about it. It's something I accepted from the time I decided to work in films.

You always gotta continue to hunger. If you're gonna continue in any kind of industry whether music or the film industry or athletics, that drive to become better is what will eventually make you into that superstar everybody else will see.

You always have to appeal to your audience. You always have to consider how well your project will do in terms of admissions. I abandoned many stories because of that. But I don't get too down about it. It's something I accepted from the time I decided to work in films. I could always do something else if I got sick of it, like draw manga, or make my own films. I found it pointless sitting in my house not working, though I'd like to go on extended vacations from time to time.

You are not an active creator of the film.

You are not an extra in somebody else's film. You are the star in your own life.

You are probably right when you say that I could get a role in any producer's film if I just asked.

You can be good in a good movie, you can be good in a bad movie, you can be bad in a bad movie, but never, ever, be bad in a good movie.

You as an audience can look at these things as films, but I remember them as social experiences.

You can act in five, six, or seven films in the time it takes to direct one film.

You can have a great time on a film and the chemistry can seem great but then you look at the finished film and it just doesn't quite gel, something doesn't quite work.

You can find the whole world of a film in one instrument, or you can find a world of sound in the orchestra.

You can shoot a film in New York without seeing the Empire State Building. Or Starbucks...although the latter is much less realistic.

You can sit and write in your room all you want, but until other people see it, until you see it produced for television or film or something, you're not 100 percent sure if what you wrote is actually going to work.

You can't have a director say, "Just be you"; you have to have an aim. It's like when you throw darts, you have to know where the bullseye is. You can't just say, "No no no no no, drop the darts. Just stand. We're going to film you." You have to get there indirectly. You have to have me doing something, and then you can get "me.