Quotes of All Topics . Occasions . Authors
Most films seem to be about a man and a women falling in love at some point and once you pass forty-five, it's almost disgusting to fall in love.
Every film has an origin. It is made under certain circumstances, and that is a very important point that should be kept in mind during a review.
The film that changed my life is a 1951 film by Vittorio De Sica, 'Miracle in Milan.' It's a remarkable comment on slums, poverty and aspiration.
[ Felicia Day] is really figured it all out, and it was impressive. It was nothing like our set, because her set was like working on a real film.
After working as a producer on many pop, electronica and some soundtrack, incidental music projects, I became more focused on film and TV scores.
Theres a certain truth that you do end up making the same film again and again so if you vary the genre you have a chance of breaking that cycle.
My films seem to be better understood and better received by the monthly publications. On television the first reactions are usually unfavorable.
There's an ecstasy about doing something really good on film: the composition of a shot, the drama within the shot, the texture... It's palpable.
What I like in pictures whether by an old director or a young director is when I have the feeling he or she is really using the capacity of film.
I thought that if no one was going to give me a great part - and it was very difficult to break into film, obviously - then I'd write one myself.
I really feel like indie films are where I learn to be a better actor, especially because they always give you a bit more freedom to collaborate.
I love directing because you get to see your film come to life. You get to work with the actors. There's something magical about each piece of it.
As I get older, I want to do more films for kids because they're the best audience around. Just putting a smile on a kid's face is the best thing.
If you're doing a big spectacle film, you've got to be mindful of large masses. Even then, you've got to be responsible only to your storytelling.
Obviously, you know, I am known as an action director, and being a film editor previously had been a great advantage for me as an action director.
Also the wonderful thing about film, you can see light at the end of the tunnel. You did realise that it is going to come to an end at some stage.
I've always intended to eventually make films. I've always been very aware of tone and shots. But documentaries are a great proving ground for me.
Why would you watch an Oscar-nominated film unless you're mad enough to purposely experience feelings? Bleh. I'm not interested in catching those.
A film should be somewhat personal. I think that whatever you create you have to be true to yourself and create something that feels right to you.
A film set becomes its own family anyway, and all family dynamics come out during a shoot. The trick is hiring people who know how to handle that.
In my view, the only way to see a film remains the way the filmmaker intended: inside a large movie theater with great sound and pristine picture.
I think when you watch the dailies, the film that you shoot every day, you're very excited by it and very optimistic about how it's going to work.
I think when you're playing a character in any film it's so crucial to have the costume that makes you feel like you're going to be that character.
We all know the power of film; we all know there's almost nothing more powerful than to see people on film that look and talk like you, like we do.
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.
When I was young, it was easier to make films. It wasn't as expensive, there was more support. I found that I couldn't get the money to make films.
In the theater, you go from point A to point Z, building your performance as the evening progresses. You have to relinquish that control on a film.
Anybody can make a movie, if you have the will. The digital revolution has made it very inexpensive to make a film. Anybody who wants to can do it.
I've seen people who stink, but the film editor shows them just where they didn't stink. But if you're empty and manipulative on stage, it's clear.
Rain is also very difficult to film, particularly in Ireland because it's quite fine, so fine that the Irish don't even acknowledge that it exists.
When I first read 'Lord of the Rings,' I wanted to see a film of it. But at that time, the technology wasn't there; there was no such thing as CGI.
I do not think that my films or films by any other filmmaker represent "THE TRUTH." I do not feel the need to categorize my films or anyone else's.
After 'The Empire Strikes Back,' I got to make big films that I didn't care about, 'Never Say Never Again' and 'RoboCop 2,' and then I got too old.
What I learned from this movie, 40 Days and 40 Nights: Abstinence can be a very good thing. Especially from box offices where this film is playing.
Most of the projects aren't that interesting anymore. There used to be a day when the studios made amazing films, and they were about human beings.
The greatest joy in getting ready for the film is that there aren't many reference points for the journey and you've got to define it for yourself.
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!
I mean tomorrow if I want to make a film about a queen that lived in the 15th century, I can't be like I can't make it. I should be able to make it.
Popular films are so powerful and compelling that it's often easier to accept their versions of history than the much more complicated true stories.
I want to better myself with every film. My goal is to be at the highest level someday, and I know I will get there, too. I have strong work ethics.
I remember typing up my dissertation sitting in a horse box - I didn't qualify for a caravan - on a set in Pinewood on my first film, 'Still Crazy.'
There is this old thing that a lot of people say - that the worst experiences make the best films. I don't subscribe to it. But I've seen it happen.
In terms of the films I make, I'm just more excited about it if I've written it. It's like living in a house that you've built rather than a rental.
We mixed the sounds ourselves. If they were going to put the sound back onto our film [Pink Floyd: Live at Pompeii.], we wanted to mix it ourselves.
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.
I was very friendly with Jimi Hendrix because my boyfriend at the time, Tommy Weber, was making a film about him, so I would go to all of his shows.
More and more people are seeing the films on computers - lousy sound, lousy picture - and they think they've seen the film, but they really haven't.
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.
That's where my passion was ignited, on the set of 'Pobol Y Cwm.' I loved it and I've had such a passion for TV and films. I can't do anything else.
So, not for lack of love of language, but because I feel our language is in an enormous state of humiliation, I decided to make films without words.