Best 3577 quotes in «film quotes» category

The trade magazine and all was banned in my house. The first time I read a film magazine was when I was 18.

The traditional ways to make a film, the traditional ways to share a film, have all collapsed. There are no gatekeepers, per se, any more, and anything can be done. Truly, I feel that.

The truth is most of the films that make a lot of money no one remembers, and I'm not interested in making films that no one remembers.

The truth is, I just don't have that much time to see movies. So if I get two hours where I can actually see a film, I don't want to go backwards, I want to go forwards.

The truth is I don't see a lot of movies. I see the Oscar films. I see the films that are sent to me and a few films throughout the year.

The very earliest people who made film were magicians.

The way I see it, I belong to the film as any other department.

The werewolf film is a strange thing.

The whole film business was built on immigrants: Billy Wilder and Michael Curtiz and all these hefty lads.

The whole point of making a film is to tell a story. That seems to be forgotten. Many films today just rely on special effects and they have an explosion every five minutes. Who needs it? It's rather repetitious.

The whole visual language of the movie is developed way before we get to set. Especially when you're doing visual effects and you don't have a lot of money to mess around, which we didn't, you have to really preplan everything. Pretty much every shot in the film was figured out months before we got to set.

The whole thing that drew me to doing an animated film is that you're freed from the physical limitations of your physical body. All of a sudden, you get to be something that has nothing to do with the fact that I'm a 6'4", lumbering dude, and that is really exciting.

The whole year I was in LA I got into telemarketing and learned how to make money. Five years later that skill helped me make my first film.

The wonderful thing about film is that you have something that has a beginning, middle, and end, and you have a concrete amount of time to shoot it.

The work is the work. The work is not me. I like the anonymity that directors can have about their films. Even though it's my voice, I'm a storyteller.

The worst of the action films are the ones where everything is one shout from beginning to finish. And there's no differentiation between beats, like small or big, or quiet or expansive. It's all just one loud shout.

They're not supposed to show prison films in prison. Especially ones that are about escaping.

The worst question really comes from the attitude of the asker and it usually comes in the form of "What was your inspiration for the film?

They prospect of seeing oneself in the mirror clean-shaven is too close to a Vincent Price film... a prospect not to be contemplated, no matter the compensation.

They said, "You get $2 million to make the film, if you're not in it. If you are in it, you get $5 million to make the film." There was no way to make the thing for $2 million, so I made it for $5 million. And then, it turned out there was no way to make the thing for $5 million. That's when it got weird.

The worst thing is that you used to be able to show interesting films on campuses. Those places are all gone.

They're such hierarchical things, film sets, they're sort of mini societies. Often they're incredibly political places.

They were showing clips from my earlier films. All I could see was this beautiful young woman who was anxious about whether she was too heavy or if her nose was too big. I felt like saying to her, 'Just relax and it will all be OK.

This film 'Hero' talks about the peace of Chinese people.

This film [Chi-Raq]is a declaration. It's a scream. It's a warning. And I can really break it down to one scene. That's the scene where we have the eulogy and sermon that is given by the great John Cusack.

This film [Teknolust] in particular, showing the way in which having a sexual dialogue with someone can be something developing and changeable and maybe uncomfortable and complicated. Just complicated and human, no more and no less.

This film, Tomb Raider 2, is a big challenge. It's quite exhausting.

This ["Cowboys & Aliens"] was an occasion where a studio was willing to spend a lot of money to make a film set in that time and place, but the hook was that they were also going to have aliens from outer space!

This film [the Cell] certainly is not meant for the girls who sing along with my songs.

This film "Phantom" takes everything that's wrong with Broadway and puts it on the big screen in a gaudy splat.

This is history written in lightning.

This is something particular to actors, especially in plays, and in films, too - but in plays, it's like, don't get involved with anyone in the play.

This was all very new to me and I did not want to ruin his film! So we worked hard on that basis of confidence that is needed to collaborate comfortably.

This might surprise you, but I do feel like I have, because the shooting of all these films was spread out, for the most part. They just happen to be coming out at the same time.

Through all permutations and youthful poetry, I came to believe that the film actor was the great "literateur" of his time.

Though poor and anxious to work, I refused to alter anything. They would take me as I looked or not at all.... Eventually I profited by looking like myself and not like what was fashionable years ago with certain film technicians in Rome.

To be honest, I was just honored to be in the same festival [ Raindance Film Festival's ] as Johnny To and Dominik Moll.

To be fair, that MTV was very cooperative with the film [ "Josie and the Pussycats" ], and this MTV has been very cooperative. I actually didn't even think about it until you said it.

Titanic I thought was the most dreadful piece of work I've ever seen in my entire life. Another film that I think is equally bad was American Beauty. So badly acted and directed. But people like that.

To be in someone's favorite film is just - that's what you want. You want to be in great films that are memorable.

To be quite honest, numbers don't tell you everything because audience reactions differ. Some of the biggest films at the box office are not necessarily films that everyone has loved, they just opened to a good response.

Tobin Bell wasn't obligated to do the second Saw film but he wanted to. I think they brought me into this film because there's a first time director, and my reputation is one of an actor who's there for the betterment of the project. I'm not there to better myself. I'm there to bring all my resources to the project to make it as good as it can be. In the end, that makes everyone look good.

To convey in the print the feeling you experienced when you exposed your film – to walk out of the darkroom and say: ‘This is it, the equivalent of what I saw and felt!’. That’s what it’s all about.

Today, most newcomers from film families are launched in outside films.

Today films are made to cater to commercial markets created by multiplexes, not for those who enjoy good cinema.

To have a film in America means precisely nothing if you don't have a distributor who stands behind it.

Today you have something like A Film by Joe Harry. That is patently asinine and ridiculous.

To decide to film a movie again shot by shot, you must be masochistic to a certain degree because it is a much greater challenge.

To get on screen with the Talking Asshole, quite a feat. And it's certainly going to be a cult film that people will be seeing.

To Kill a Mockingbird' represents Hollywood at its very finest, when a popular film could truly contain a message. It has one of the most moving scores of all time.