Quotes of All Topics . Occasions . Authors
I have a studio in a barn at home - we rehearse there, we film there and we record there. It's fun to hang out with my guys and see what comes out next.
All these horror movies are slasher film now. I like them, they're fun, but they wink at the audience and you're really not terrified through the movie.
I guess I've been fortunate in having an ongoing film career while being based in Melbourne. I'm happy to commute. A day on a plane. Come on. It's easy.
Ordinarily if an actor gets chosen for the lead in a film, he or she has already built up a repertoire, and everyone knows what he or she is capable of.
I write for somebody who has my own limitations. My reader has a certain difficulty with concentrating, which in my case comes from being a film viewer.
The escape to an unchallenging fairy tale can be very nice and I'm all for that, but film can also challenge you to confront the realities of our world.
I played a definite part in it. I guess the things that I played in films and the way the nudity and the love scenes were handled were really different.
Have you seen the film Histoires D'Amérique? It's also a mixture of humor and monologue, and it shows how the Jewish humor comes from drama and tragedy.
Films don't decide my whole life. They are just a part of who I am. What I do in my personal life should be of no concern to the filmmakers or the fans.
I was about 26 or 27 and it was imperative that I make a living right away and it's hard to make a living on stage, so I started in television and film.
I like black and white films. I don't exactly know why - probably because there is a stylization which is removed from actual life, unlike a color film.
I love the idea of using film language similarly to how musicians use music - combining images and sounds in a way that they create an emotional effect.
If I could live my life all over I'd do everything the same; the film in my camera would remain the same; there's no way lord, to leave this love behind.
I'd love to make a sequel to 'The Rocketeer.' The film didn't do as well at the box office as we all hoped, but it has endured and generated a following.
Juilliard definitely emphasizes the theater. They don't train - at all really - for film acting. It's mostly process-oriented, pretty much for the stage.
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.
There's not much of a difference shooting something for TV and shooting something for film; the difference is film is in a cinema and TV is in your home.
You know, I don't really do that much looking inside me when I'm working on a project. Whatever I am becomes what that film is. But I change; you change.
If a concert film is an experience of the musicianship without critiquing it, then this, too, is dropping you into a world and letting you experience it.
I don't do a film unless it has a sword in it. And if it doesn't have a sword in it, I insist that they have one in the same room to keep me comfortable.
I could have made a small film and kept all the money from 'Life is Beautiful'. Instead, I spent more money than I had on 'Pinocchio', a very risky film.
I have actually directed over thirty plays and about one hundred commercials for cable TV, but have not yet had the opportunity to direct a feature film.
It helps being from somewhere other than Hollywood, not having grown up with that sense of film-making. I really wasn't exposed to that as a young woman.
If it could have happened through a film that I was associated with, it would have made be doubly proud. It makes me proud anyway. I am not disappointed.
In TV the main purpose is to have them keep their hands off the dial. In movies, where you have a captive audience, the opening is intrinsic to the film.
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.
Making the films is never easy, but actually that aspect of trying to make a better film or to keep the standard high is something that comes organically.
We have so many American and English films in Australia that we hear those accents often, so they're not too hard to pick up, but it's always a challenge.
I've never been a part of a film before that offers such a platform into real issues, that raises social awareness and has the potential to change things.
The thing I've come to learn is that what's great about small independent films is the intimacy and the communication that occurs when you're making them.
The demarcation between an art house film and an entertainer has blurred, only because a larger section of the audience has accepted such realistic films.
I'm happy that people have loved my film and my work. I have always let my work do the talking, and I guess I have proved to my critics that I'm not over.
I like fashion, but I love, love, love music and film; they are my two passions. I would love to pursue my acting and my love of music more than anything.
I prefer film to TV because of the amount of time film affords you that TV doesn't (though theater is probably my favorite and the scariest place of all).
I live, therefore I make films. I make film, therefore I live. Life. Movement. I make home movies, therefore I live. I live, therefore I make home movies.
For the time it takes to make the film, you are treated like a cosseted pet. Then the process is over, and you're hung out to dry. It's like being a mink.
Some films do portray women in their 40s well, and some other films don't. Some films are written by women, so maybe there's a little more accuracy there.
Making a film is so hard that if you don't have your main actors going along with the ride with the rest of the crew it can make your life very difficult.
I was an insecure kid. Once I saw 'Hercules' with Steve Reeves, it completely changed my life. If I had never gone to that film, I wouldn't be here today.
I love watching people listen. And on film often some of the best moments if you think about favorite moments on film, often the person isn't even talking.
I have to keep reminding myself that I was hired for a reason and one of those reasons is because of the stories I tell and the films I've made previously.
I was thrust into a really lofty, enviable, but isolated position with 'Princess Diaries' in that I could carry a film before I really knew if I could act.
I don't want to get pigeonholed just doing just family films and fantasy films... I don't really want to get pigeonholed just doing anything in particular.
There [in Allied] were things that were written that were cut, and things that were shot that were cut, but if the film works, they are erased from memory.
I see a lot of movies. I love films as a spectator, and that's never obscured by the part of me that does the work myself. I just love going to the movies.
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.
Documentary has been a way for me to establish myself as a filmmaker. It's my way of proving that I have a language, that I can say something through film.
Kenya doesn't have much of an infrastructure for hosting a film of this scale. Our producer decided that for the film to really work it had to be in Kenya.
The actual work of recording a record or making a film just requires that you consciously block the time out to do that and nothing else. That's what I do.
If you're reading a comic strip, you can read it at any speed you want. But with film and music, the audience has to take it the way the composer gives it.