Quotes of All Topics . Occasions . Authors
I think a film set is a quite controlled environment and you feel like you can trust them and it is going to be a safe place to work, but I really don't think about it.
I love movies where you can tell who's directed it even before the credits roll in, like Wes Anderson or Quentin Tarantino. People who make very stylized types of film.
I love horror films. And I like chick flicks! I like to approach the different genres of moviemaking and explore them. And you get a little better the more you do them.
I think that Mary Poppins needs a subtle reader, in many respects, to grasp all its implications, and I understand that these cannot be translated in terms of the film.
You can have a great time on a film and the chemistry can seem great but then you look at the finished film and it just doesn't quite gel, something doesn't quite work.
I'm interested in new worlds, new universes, new challenges. I always said the only reason to make a film is not for the result but for what you learn for the next one.
One of the proudest things for me with this film [The Fourth Phase] is that year after year we put ourselves right out there making it and no one got seriously injured.
I mean, certainly writing, painting, photography, dance, architecture, there is an aspect of almost every art form that is useful and that merges into film in some way.
A film like 'Whale Rider' is equally truthful, perhaps more so, to the Maori experience; Maori people respond to 'Whale Rider' because it's a world that they understand.
If you do an original film and you want to cut a scene out you do it. But when you do a shot by shot remake you don't have that option and every scene has to work again.
I didn't go to film school. I just kept doing videos and whatever. So I guess I learned my education from just experience. Figuring out what worked and what didn't work.
When I heard about the first Tomb Raider, I was very interested and I would have liked to have directed that. When I was approached for the second film, I was delighted.
My friends and family are not really fixated on the specifics of 'Star Wars.' My parents don't know anything about 'Star Wars.' They've never watched a 'Star Wars' film.
I think that every so-called history book and film biography should be prefaced by the statement that what follows is the author's rendition of events and circumstances.
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.
'Do the Right Thing' was my first union film. I looked at the rosters, and for the most part, it was white males. Especially the Teamsters. So we had some conversations.
Actually I did, because I saw the film like everyone else, ten years ago and I remembered some of it. I just wanted to see it, to kind of remember the tone a little bit.
I always collect a bunch of images for every film that I do, that reminds me of an essence of the character, or the time that they live in, or what they're experiencing.
I love when you go to a horror film with real horror fans and everybody's there watching, getting involved and screaming. That's when it's most alive and exciting for me.
I love films, I love movies, I love television, I love television series, I love the internet, I love anything that enhances images. But most of all, I love, love movies.
My films have to do with justice and many, many other concerns. That's the sad part of coming from my generation, and having been boxed in by those words like "identity."
For behaviorist films, that's been much more useful - the change of technology - but for my kind of films, doing them on film is much better, because it's more beautiful.
I definitely want to get more active in the film world. My experiences I've had thus far have been really fun, and I definitely feel my best is yet to come in that world.
During the middle of sophomore year, my friends and I would get bored at lunch, so we would film videos on my computer webcam of us dancing in the gym to Christmas music.
You create a work of art. You do not know whether it will get public sanction. Sometimes outstanding films do no business, and sometimes films which are not so good work.
But with the right kind of coaching and determination you can accomplish anything and the biggest accomplishment that I feel I got from the film was overcoming that fear.
As an actor, I don't feel like it's necessary to watch a great deal of films. In fact, I think it can lead to imitation and unhealthy competition, which just isn't needed.
I would have preferred to have been in a film where I could've been more authentic or more human, where the dialogue and my approach to the part could have been more real.
The deal is that you can do it, you don't really owe me anything, but at the end of it, I own the film. Then I can actually go out and reprint or not reprint if it I want.
The play has to work for the super fans, and not speak down to them, and yet it had to play to those people who maybe had never read a Harry Potter book or seen the films.
The only way to ensure a film is going to sell is put Will Smith in it and you open it in 3,000 theaters and make sure we have all the top promotional spots in each venue.
The big studio era is from the coming of sound until 1950, until I came in ... I came in at a crux in film, which was the end of the studio era and the rise of filmmaking.
My audience is a diehard audience. They are dedicated. My audience always follows me and sticks with me. They're the reason I'm still here - in the films and in stand-ups.
Not so much a film as a visual essay, exquisitely directed and photographed (by Sacha Vierny)... Difficult to watch but well worthwhile for those willing to be challenged.
People like my films. They understand me through my films; it's like a connection that has been established between all my work and myself and the audience and the viewer.
I wanted to make sure that I was making films about the world. So I thought well, I should go and see it. I'm spending a lot of time in - we call them caravans in Britain.
'SNL' came out in the '70s. It's a different zeitgeist. It's hard to re-create it, just as it would be hard to do a black-and-white noir film now. The culture's different.
In the theatre you can change things ever so slightly; it's an organic thing. Whereas in film you only have that chance on the day, and you have no control over it at all.
When you finish a film, before the first paying audience sees it, you don't have any idea. You don't know if you made a success or a flop, when it comes to the box office.
The Sand Pebbles has always been one of my favorite films, I suppose because its the most difficult film - from a physical and logistical standpoint - that I've ever made.
In a theatrical experience, creating a moment is somewhat easy; you can have a callback to a previous film, and if 10 people laugh, the others in the hall usually join in.
My films require that the spectator ask the big existential questions. If you're not interested of turning inwards for answers, my films won't fulfill their whole purpose.
I always wanted to make a film that had this sort of Chinese-box effect, in which you keep opening it up and opening it up, and finally at the end you're at the beginning.
Following 'Urumi,' I did get a lot of offers from Malayalam, but frankly, managing films in several industries can become a little hectic. So I decided not to take them up.
With the films I've done, I've written on them, I've acted in some of them. And even ones I haven't acted in, I've acted them out just to be sure another actor can do them.
An often-repeated assertion in the body of film criticism I have written is the assertion that movies do not just mirror the culture of any given time; they also create it.
... the blinding Hiroshima flash... literally photographed the shadow cast by beings and things, so that every surface immediately became war's recording surface, its film.
Ridley creates a very immersive world, so when you walk up to a Ridley Scott film set you're in Ridley Scott's imagination, and it's a really comfortable, cool place to be.
I try to see my films just once. It's like a dream you've been through when it's been intense, and you just have to go through it once more just to make sure you've had it.
I had seen 'Lock, Stock and Two Smoking Barrels' and I thought that was a different kind of film than I'd seen before, with that kind of editing and slick camera movements.