Best 3577 quotes in «film quotes» category

(The Nutty Professor) was a labor of love. It was a total film. It was the most productive, creative work of my life.

The older I get, the more I'm drawn to the smaller films, but I still hope to keep bigger films in my repertoire. It's just maybe going to be a shift in focus, but I'll definitely still hopefully be kicking around in those.

The only genre I have any problem with is musicals, but that's just my own tastes it's nothing to do with the films.

The only fear I have is that I will wake up one day and nobody will allow me to do films. This is a fear every actor has.

The only difference from one $100 million budget film to another is which of the 12 box stars are getting $20 million to be in it.

The only distinction I'd make is between film and telly, I guess. "Film," "movies," and "cinema" are all synonyms as far as I'm concerned; but telly is different. It's just a plodding we've-done-this-scene, we've-done-that-scene and it never becomes this new other thing.

The only music I've ever written was for a film called Frank, and the idea was that it was the worst music in the world.

The only place that I'd be worried about being typecast is the independent film world.

The only purpose of the visuals, in any film, is to serve the story.

The only thing I really wanted was the freedom to be able to get what I want on film. I’ve dealt with the MPAA since 1973, so I know how to renegotiate and rework.

The only time I use women in films is when they're naked or dead.

The only tool we have as artists is selectivity. If you're a painter, you select the color, the lines, how severe they should be. As an actor you develop how angry you should be. You select how angry you should be. You listen to the other actor and then you react. In film, sometimes the other actor isn't even there. You have to play the scene. What I do is I call on my experience on the stage. I play the scene and I hope that I reach a certain level of integrity because that's what I learned on the stage.

The only time I'm totally happy is when I'm watching films or making them.

The only way to ensure a film is going to sell is put Will Smith in it and you open it in 3,000 theaters and make sure we have all the top promotional spots in each venue.

The only way you can learn about making films is by making them, by putting your stamp on the thing.

The original 'Edge of Darkness' was fantastic, a fabulous series. It was of its time, but this film version shows that times really haven't changed.

The outraged citizens of Indonesia - lawyers, doctors, engineers, scientists - should be speaking up; they should be shouting. And of course, the voices of farmers and workers, their terrible stories, should be read and heard from the pages of independent magazines and blogs, from YouTube and independent films.

The people green-lighting films or TV series often want household names, but the smart ones realize that there are lightning rods who can make things happen, and they aren't necessarily the ones who are celebrated.

The period from 2001 to 2005 was really tough. My films were not working even though there was an acceptance of a model. I was depressed but did not cry. I cry when I am happy.

The play has to work for the super fans, and not speak down to them, and yet it had to play to those people who maybe had never read a Harry Potter book or seen the films.

The power of a good film is to engage you and draw you into its world.

The possibilities are endless for me - Broadway, TV, music and film.

The prime motivation in making almost any film is success, because film is the art form of the 20th century.

The power of good film is being there in the moment.

The practical value of history is to throw the film of the past through the material projector of the present on to the screen of the future.

The problem with doing a schlocky or big budget studio film is that it wouldn't actually be fun for me. It wouldn't be exciting.

The process always starts with detailed conversations with the director, followed by a spotting session (deciding where the music goes and doesn't go in the film, and what the music should be saying or not saying) in each scene. This is followed by sending the director demos of each cue for feedback.

The problem with the British film industry is the nervousness and insecurity about - and genuflection toward - Los Angeles.

The process of doing a play is an organic one and the process of doing a film is totally un-organic.

The psychiatrists examine you and ask you about your life and work, and then they decide whether your film can be shown or not. It's a horrible experience.

The profession of film director can and should be such a high and precious one; that no man aspiring to it can disregard any knowledge that will make him a better film director or human being.

The prospect of being able to work on a Kaufman film with him directing was just too good to be true.

The public's nerves are raw and edgy. You have to be discreet and understanding about the films you are showing.

The public has yet to see TV as TV. Broadcasters have no awareness of its potential. The movie people are just beginning to get a grasp on film.

The realm of superstitions, fortune-telling, presentiments, intuition, dreams, all this is the inner life of a human being, and all this is the hardest thing to film.

The questions of economics, and how they infect, or rather how they affect intimacy. And that's probably the subject of all my films.

The really simple approach to photography is a great balance to making the films.

There always comes a moment where all the departments in a film need to work together. And if a director, his first assistant director, and cinematographer have a very clear vision, then everybody does work together.

There are a couple of things that are, in the present, floating in front of my face, and once one of them gets enough energy to become a voice that I cannot not hear, then I will become a steamroller. When you've made your film, you stop hearing the voice.

There are all kinds of values within the films but I don't make message films.

There are a lot of filmmakers I love whose work doesn't inspire mine at all. For example: Quentin Tarantino. From his films you can see that he has a wicked sense of humour, and I love that!

There are a lot of female directors in Lebanon but we can't really talk about a true film industry, it's still very small. But we do have a few female directors.

There are a lot of films where I play characters that are about the windows to the interior person rather than the exterior.

There are artists that are using computers in all genres - Kendrick Lamar's music is electronic-made, and Taylor Swift is the same thing. There's a lot of pop music, underground music, and music for films made with computers. In that sense, it's not going to go away.

There are a thousand weird untold stories in the Australian film industry, this has been one of them.

There are certainly laws and elements that make a film more accessible to mainstream audiences. If you've got Tom Cruise as a strongman, I'm sure it would have larger audiences, but it wouldn't have the same substance.

There are films that are difficult. There are films that would actually affect your personal life because of the length of the production, how long [you're away] from the family.

There are certain moments that you have to hit in a film, like when a character cries.

There are few films where you have women really driving the plot.

There are lots of parts of filmmaking that I don't like. At the end of the day, especially on features, the film turns into a commodity. You have to play this entirely new game I'm very uncomfortable with.