Quotes of All Topics . Occasions . Authors
My fascination with letting images repeat and repeat - or in film's case 'run on' - manifests my belief that we spend much of our lives seeing without observing.
I'm in total control. I write the songs, decide what to sing and how to sing. I even control the recording process. But, with a film, there is no control at all.
I became a documentary filmmaker because I wanted to make socially conscious films. I never studied filmmaking - everything I have learned has been on the field.
In 1962, we created the Filmmakers' Co-Op because nobody wanted to distribute our films. If we had the Internet in those days, we wouldn't have needed the Co-Op.
I spent several years in the film finance business, but I returned to what I loved most about the industry - actual filmmaking, producing, writing and directing.
I probably would have made [films] anywhere. Every city has something they're ashamed of. I would have made films about it and turned it into something positive.
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.
Because I trained in theater, I always leave a film shoot feeling like I haven't done anything, like I just sat in front of the camera and whispered, essentially.
With the Internet, kids today learn things quicker than we do and they have everything there is to see, so you have to do more than just remake some old '70s film
I used to be a film and music journalist, and wrote for different magazines in the 1990s. I still love music, but the experience destroyed my enthusiasm for film.
The great thing about filming a film is that you all have your final day's shooting, but you always know that you're all going to be coming back for the premiere.
I love film and I love sitcoms, and I was one of those kids that would just go to the movies on the weekend and spend my whole weekend watching all of the movies.
I am disabled, so I can't travel, and I have not been to any development meetings, but Gary and the others affiliated with the film keep me updated on everything.
Fortunately, both television adaptations and the film I've been involved with are pieces of work that I'm proud of, so I'm very happy for people to focus on them.
The director is the only person on the set who has seen the film. Your job as a director is to show up every day and know where everything will fit into the film.
I was sent off to study in Georgia to keep me from movies. When I outgrow this film career, I will become a practicing doctor. I want to specialize in cardiology.
I did 'Quigley Down Under,' which is quite deliberately placed in Australia, which is a Tom Selleck, Alan Rickman, Laura San Giacomo film from '88, I want to say.
What you try to become is a bringer of magic, for magic and the truth are closely allied and movies are sheer magic ... when they work, it's, well, it's glorious.
I don't think I've made my favorite film yet. But I loved 'Bamboozled.' 'Bamboozled' to me is off the chain. It's definitely in the ranking. I loved 'Bamboozled.'
I think it's very repressive for a woman to be constantly told that she has to make films about women to better represent women, but then the reverse is not found.
As a gut thing, my next project is always the complete opposite of the thing I've just done. So if I've spent a lot of time doing film, I might then do some radio.
Some of the greatest films and television have only been seen by the people that make them. And some of the greatest music is only heard by the people who make it.
Singing is the rawest thing. Having been naked in films or naked in photo shoots, it's nothing compared to singing. It's absolute nakedness. You are stripped bare!
I traveled to Berlin promoting something a few years back, and Berlin is absolutely my favorite city I've ever been to. I want desperately to film something there.
When I was young, I wanted, most of all, to be a writer of films and film music. But Middlesbrough in 1968 wasn't the place to be if you wanted to do movie scores.
Some of my favorite all-time movies - Wong Kar-wai is just amazing. In the Mood for Love is probably my favorite film ever. Those lyrical montages are so stunning.
If were were in a film, the villain would turn out to be the least-expected person. But as we aren't in a film, I'd go for the character who tried to strangle you.
When I worked on 2001 - which was my first feature film - I was deeply and permanently affected by the notion that a movie could be like a first-person experience.
It's a relentless regime with 'Misfits.' I'm actually a little bit nervous of it, because I know it's going to be so tough to film, but we have a good crack at it.
When you've finished the film and everybody's already made back all their money, everybody just leaves you alone and I'm very happy. That's what it has to be like.
I really feel that a big part of my job - besides getting the money - is to see to it that Woody [Allen] has what he needs to make the film that he has envisioned.
I feel like I'm a fan of film who's actually in the business, too. So it'd be like saying like, ‘Yeah, I love the NFL,’ and then, ‘Yeah, I'm also a wide receiver.’
The only thing I really wanted was the freedom to be able to get what I want on film. I’ve dealt with the MPAA since 1973, so I know how to renegotiate and rework.
Before my commercial success, I had difficulty doing what I wanted, but my sincere short films always won prizes in festivals. So I was ready for larger successes.
Acting's all about the confidence you exude, especially on film. I mean, nervousness isn't attractive in anyone, but a film camera will seek it out and punish you.
There's always the influence of music, film, art and the other things that drive me. I'm usually inspired by my environment and whatever is making me happy or mad.
I still love the layers of cinema whether it's 35mm or 16mm or 8mm, super 8 which I love. I love the grain. If I had my druthers I'd film everything in kodachrome.
There's a lot of crap out there. Most of the science fiction films alone are abominations, you know. They're mindless. So you can't learn from those kinds of films.
There's no certain type of cinema, but there's a certain type of promise every film comes with. The agenda is to keep an eye on quality and live up to that promise.
Films are even stranger, for what we are seeing are not disguised people but photographs of disguised people, and yet we believe them while the film is being shown.
Film is a director's medium, and a film set is a complicated military structure - I have to keep reminding myself to stay in my place, or all will burst into chaos.
We were very clear that this film's [Young Adam] so much about a relationship that's borne out through the sexual contact, and that that's the way they communicate.
I don't really expect much from my life. So when I heard my films are premiering in film festival circuits I was glad of course but I thought it was lucky accident.
In the past, when I shot films about fishermen and hunters, I always had to admire their ability to perceive time in its entirety. The present was always temporary.
I'd say working on television is much, much tougher than films. But television has a great connect with a live audience, which is a refreshing change for us actors.
For me an unfavorable initial reaction happens fairly often. For some reason the more time that elapses after the film opens, the more favorable the reviews become.
I learn so much from watching films like that with commentary and then when you get to hear another filmmaker talk about their films it's a really great experience.
But I'd be lying if I didn't say that every time you go to make a film, you're desperate to either do it better than you did it last time or to not repeat yourself.
People have been very resistant to giving me more than the standard amount of money. So I keep making films on a similar scale. Which is fine, but also frustrating.
Sometimes I criticize movies. It's not fun to watch a movie with me, because I'll go, "That was a really bad shot." My mom's like, "Shut up, Chloe, watch the film!"