Best 3577 quotes in «film quotes» category

It's the best of the best. No film can hope to top it(Kubrick's 2001).

It's the first time that I've ever had an art show based on a film, but it's a photography collage.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

It's the saddest year in movies. We've got "Manchester," "Moonlight," "Chronic," "Jackie" ... it's sad when "American Honey" is the happiest film of the year and it's about runaways aimlessly trying to figure out their lives with no parental figures.

It's the people that ultimately are less talented or have less confidence in what they're doing that then try to micro-manage, which lends itself to a less than ideal film.

It's tough to get any film made, even if you're Martin Scorsese. It's just hard to get films made.

It's truly gratifying to see my films reach beyond a familiar public, to get a chance to move new audiences. It's nuts. It's extraordinary.

It suits me to be in a series that takes ages to film.

It's very clearly stated in the film: You make your own choices, and what you're always fighting is ego.

It's very easy to get caught up in - there's a hype going on now that I haven't seen in years, and it's actually more about press than it is about an actor's work or what films they've been in.

It's very hard to go to Monument Valley and not think of John Ford's films.

It's very rare to get a film script that has good dialogue. A lot of the time, you spend on film sets really fighting to find out how to say the words.

It's very, very technical, what we do in film. While all of the lights are there and all of the crew members and directors are staring right at you, you have to be honest. It's a very difficult, but technical medium.

It's weathered many a storm, but the British film industry is, thankfully, still afloat.

It's weird when you're watching yourself in a film - you can't really detach yourself from the experiences you've had that day. You're never watching the film as a proper punter.

It's very, very tempting to make a superhero film or show and make it about the powers.

It's very tempting to over-eat all the bad things when you're on a film set.

It takes years to establish yourself, and then you have one big film and everyone calls you an overnight success. You think, 'Christ, I've been sweating and crying for seven years.'.

It [the film industry] is not a glamorous industry. It's really, really hard, and you get told all the time, "You're not this, you're not that," and so you have to find a center.

I turned down the opportunity to be in some films that went on to be blockbusters.

I turned down a lot of things that were so-called commercial. You're coming out of one film, and then they want you to be in the same one.

I turned down a lot of films before I made my first one. I knew that it was time for me to get into movies.

I turned down twelve films last year... Huge money films, but I had no respect for the writer or the work.

I turn up in Los Angeles every now and then, so I can get some big money films in order to finance my smaller money films.

It was a film that I knew, that I had seen, that I was familiar with, but I wasn't anxious about it at any point during the screening. I snoozed twice, and this is something I couldn't have imagined that I would feel detached, as I did with this film [Certified Copy].

It was always something I knew I was capable of and from an early age my mother was involved in the film industry. She used to work at a production company. So I was exposed to a renaissance period of films in New Zealand back in the early 80's.

It was a tough film ["Selling Isobel"] to make anyway, because we had limited resources.

It was a small room with dim light coming in the window, reminiscent of old Polish films.

It was a tough experience with Alan Horn, who didn't like anything that was R-rated. So you can imagine he hated some of my films.

It was a sad thing. I don't know how he learned that.

It was important to me to make a film where I don't show the past but where the spectators can see the past.

It was easy for me to show the films to the studio and the network and say, "This is who I'm hiring.

It was great. I got to hang out with him [Martin Freeman as Bilbo Baggins], and I kept a straight face for a bit and then I started giggling because I know Martin, I don't know Bilbo. For Martin to be sitting there playing Bilbo is amazing. He's going to be amazing, he's going to be fantastic in this film.

It was great to work in Ireland because it's such a beautiful country, but it's not particularly easy to film in because the weather changes all the time.

It was never a deliberate decision to make films about the 'woman experience'.

It was lucky that Ralph [Fiennes] is someone who understands both film and theater and we were able to understand that scene so well before we took it to the set.

It was one of the marvellous feelings of the film, having the music going in your head while doing scenes.

It wasn't just British gangster films that really did for me as a kid, personally, it was British films in general.

It was really cool to work with Dakota Fanning. I've watched her grow up and I've always loved her films, loved her. It was amazing working with someone who was American as well, because obviously it's going to be a different energy straightaway. We got on really well; she's so professional and hardworking.

It was very much about performances, the whole ensemble thing was just great - everybody working together. Sometimes it didn't feel like a film set. It wasn't technically driven, it was very, very enjoyable

It would be great to make a movie that had the style of a great '30s film or a movie of David's Lynch or some other director I love that could also make money, because that would say to the corporation, "Yes, you can make money and still do art." But it's tricky.

It would be hypocritical of me to take issue with anything in questionable taste, seeing that I invented bad taste in films.

It wouldn't kill you to watch a film or pick up a newspaper once in a while.

I understand, as the young, attractive woman in film, that there's always going to be people seeking out extra salacious things for you to do.

I use a lot of film images, analogies, and imagination.

I used to think about video games, "This is clearly an amazing, new narrative medium, and it's going to be mind-blowing when people get to grips with what's possible within this medium." It took us a century to get really good at film. Video games are at a much earlier stage.

I used to be a huge fan. "The Simpsons" taught me a lot about filmmaking. It imitates film, but it's drawn, so everything is super clear

I used to like watching Helen Mirren's early films, because she was always naked. It's titillating.

I used to be a die-hard defender of physical film, which I still am. I love shooting on physical film and I think it's great.

I used to love going on a junket and promoting a film when it was not a 24-hour news cycle, and when there weren't so many media outlets. You could actually talk about the film.