Best 3577 quotes in «film quotes» category

I never thought I'd get [a 'Pitch Perfect 2'] audition because the film was just so massive.

I never thought in terms of a "breakthrough" film. I wasn't looking for fame or a career path into Hollywood. I was doing it for myself. I just wanted to make a film that I really loved. If other people liked it, great. But you can never guess what other people are going to like.

I never thought about acting before I started modeling, but since then I've been in short films and music videos, and I got interested. It felt natural to switch over.

I never thought my first role in a film would be a grandmother.

I never would have guessed I would be making science fiction and horror films.

I never wanted to or expected to make a film outside of New York. New York became very, very expensive. The same $18 million spent in Barcelona or Rome goes much further there.

I never went to film school, so I just sort of learned on my own.

In every film, whether it's a fictional character or not, you create an idea of the character and for me I always do a bad impersonation to start with.

In film, I find it very useful always to do some preparation before you start rehearsals or start shooting, because there's so much that's against you on a film set.

In film, you can have sad endings.

In films of terror, it's often not about being graphic. Or if there is a graphic image, it's extremely swift. Everyone talks about the shower scene in 'Psycho,' but that's the only graphic scene in the entire film.

In film, you have to let go sometimes.

In film and television we are oftentimes so pampered that the truths are withheld.

In film, it's up to the director to tell the story in whatever way he sees fit, and however you fit into that ultimate vision is where you fit in. So what you did on that stage, on that set, may not be what you ultimately see when you see the final product. And TV works so fast, it works so fast, it's just about product. The average TV show, one episode shoots eight, 10 days. That's it. You get three or four takes for a scene, and then it's over. But people do it for the money.

In film as a medium, you're often given a baddie and a goodie and told what to think about them; it's usually a very definite point of view.

In film producing, there is an inherent tension between the director, the money and the producer, and that's what keeps it flowing and honest and accountable.

In film, you are a totally different person than in the video.

In film, you can't go into analytical explorations because the audience will reject that.

In general, I almost always watch foreign films.

In good films, there is always a directness that entirely frees us from the itch to interpret.

In India, the films are not looked upon just as entertainment. They're a way of life.

In Korean films there is only really a strong tradition of melodramas.

In many points in history films and filmmakers have been banned for political reasons- that's how annoying they can be to oppressing systems, how dangerous.

In many ways, it is very real, because I sat there for 9 days, and it was constantly happening, and that was the 9 days of making the film. But you can't say that it's 100% true, because there are places where I've been intrusive and interfered.

In most horror films, you don't really get to understand why this character is the way he is.

In my creative films, if there was something, some humorous moment that is lost to a non-Korean speaking audience, I'll be very sad.

In most films - especially in regards to the protagonist - really from the get-go they set up some scenario that endears that character to the audience. Or imbues him with some nobility or heroism or something.

In my career, I have played a gangster, an ex cop, a journalist and a film director. Yet, the label of a serial kisser refuses to leave me.

In my early days, I didn't know what a good film or a bad film was, and I was trying to make some money. As it happens I was lucky. I made some good films.

In my films, I hope there are a few moments where you feel almost illuminated, like in a state of ecstasy, stepping out of yourself, beyond yourself and perceiving something which is only, in the case of cinema, possible in collective dreams.

In my films, I like to use the same actors again and again, so I know them really well and can bring their unique personalities into the process. However, as a director, I have strict control over the way they express their personalities. I don't want them to go beyond what I need from them, but I also don't want them to underplay. So I modulate their performances very closely, within a certain range of expression.

In my own experience, the scripts that I wrote, if they didn't go within two years and become a film, they never went and no one ever came looking for them.

In orthodox film-making, you never shoot sequentially - but with improv, obviously every move you make has a knock-on effect; it is a cumulative process. I have improvised, on the non-scripted 'Timecode.' It can become entirely indulgent: actors smashing crockery and competing verbally.

In our society, as women filmmakers, we are expected to make films that empower women and that raise awareness about women's issues. That is a huge misconception.

In science-fiction films the monster should always be bigger than the leading lady.

Instead of saying, ah, I don't have the money, just embrace it and do what we can do. And the scenes that we film and the characterizations in the scenes can come out interesting. And I really feel good about that, going into it.

In reviewing films, people get quite liberal about saying "the script" this and "the script" that, when they've never read the script any more than they've read the latest report on Norwegian herring landings.

In television and films, you never know the fate of anything. Focusing on the present moment - not getting so caught up on what could happen - that's been my biggest focus. Everything's happening seemingly at once.

In terms of my own film experience, I'm definitely used to morose and very heavy, heavy dramas.

In Sweden, only exceptional actresses get major film parts.

In the case of Game Change, the discussion in that film was how our politicians have become so much like celebrities - personality becomes more important than substance so that they can function in a 24-hour news cycle. So the question is, how do you feel about that? Is this what you want from a politician - somebody who's wildly charismatic, but has so little knowledge of substantive issues?

In that sense, film is superior, but the difficulty is your lack of control as a writer.

In the beginning, it wasn't even a question of deciding I'm going to do independent film and not commercial films - I wasn't being offered any commercial films, and there wasn't an independent scene.

In the case of a film like The Exorcist or To Live and Die in L.A., I saw the whole movie in my head before I went to shoot it. I never did storyboards, or anything like that. I had the film in my head.

In the early days of films, the movie star in this country replaced royalty. They've been demoted since then but they're still treated as beings larger than life.

In the film, I'm not very mobile, like in the space suit.

In the film industry, we tend to pick up where others have left off, and Id like to think the influences I picked up from Bruce Lee, Jackie Chan, Sylvester Stallone and Jean-Claude Van Damme are visible in my work.

In the film business, it's basically honor among thieves.

In the film industry you work very long hours, and making a film is a very intense process.

In the 10 years that I've been a professional filmmaker, the film part of the film industry is really disappearing, right in front of our eyes.