Quotes of All Topics . Occasions . Authors
Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.
I wanted to make a film about stupid people that was very vulgar and deeply stupid. From that moment on I can hardly be reproached for making a film that is about stupid people.
My personal fave is 'The Japanese Wife', because I think I achieved a lot of what I wanted to do. I wanted that Japanese minimalism in the film, which I managed to get somewhat.
I'm terrified by young people who are doing what they think is film making. What they're really doing is taking that convulsed, fast rhythm of commercials. It's not film making.
I went to Howard University and majored in Film Production and minored in Acting. I turned down an opportunity to go pro in Track & Field to do this - I took a chance with this.
I didn't dream of being in television or film. But then I got married pretty young and had children, and I wanted to feed the children, so I worked a lot of film and television.
I worked with Jim James on my film 'I'm Not There' - he sang 'Goin' to Acapulco' with Calexico backing him up. We just hit it off, and it's such a beautiful moment in that film.
I'm not going to be an interpreter at the U.N. I'm not going to live in Africa on a farm or whatever, but I am going to see the world through those eyes when I make those films.
I have some calls out to Tom Cruise, Brad Pitt and Eddie Murphy. I said, 'I won't star in any blockbuster films if you stay out of animated films.' They just won't call me back.
When I entered the film school at the Prague Academy in the '50s, it was the hardest time in the Communist countries. The ideological control of the society was almost absolute.
I used to love going on a junket and promoting a film when it was not a 24-hour news cycle, and when there weren't so many media outlets. You could actually talk about the film.
Anyt hing that is found to stimulate hope should be seized upon and make to serve. This applies to a book, a film, a broadcast, or a conversation with someone who can impart it.
When I started in the late 1950s, every film I made - no matter how low the budget - got a theatrical release. Today, less that 20-percent of our films get a theatrical release.
When you're a woman in your 40s, it's not the best time to do films, because there really aren't that many roles. Then you reach 50 and there are more roles again. Mother parts.
I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.
I recently watched Peter Brook's Lord of the Flies, and it wasn't a favorite film. Then I saw the one that was made in 1990, which in my opinion didn't match up to the original.
Stage actors are usually much more conscious of speaking up and making sure that everyone can hear in the back of the theatre; a film actor probably thinks of that a little less.
I just think Australia tends to make very good movies, so if someone hands me an Australian or an American film script I would guess the Australian film would be more intriguing.
Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever... it remembers little things, long after you have forgotten everything.
You will never see'Altman's Great Film of the Seventies: The Director's Cut' because you have never seen a film of mine that wasn't the director's cut. I have never permitted it.
There are films that are difficult. There are films that would actually affect your personal life because of the length of the production, how long [you're away] from the family.
The art of making films is a collaborative art. As a composer, you're always working with the cinematographer because he's so much the heart of the world they've created on film.
I'll never forget the first screening at the Berlin Film Festival. As soon as the film ended there was an outbreak of booing, which made us look at each other with some surprise.
Redrafts can be very lucrative for me, but you must understand that if films go through many drafts or writers it's because someone doesn't want to do the picture and never will.
There are so many films which are my favorite in 100 years. There are legendary films like 'Bombay,' 'Dil Se,' and 'Guru' as I liked Abhishek Bachachan's performance in the film.
If I want to keep making films for a few more years, I probably should be willing to adapt. I've sort of evolved into the filmmaker that I am because of natural selection anyway.
I would love to do more science fiction. I always envisioned the Riddick franchise as a continuing mythology, so I always imagined that there would be many other films to follow.
Britain is producing some of the worst films in the world. Our film industry is desperate to be part of America, and we just churn out flaccid imitations of bad films over there.
I've always played that edge of fact and fiction. I used to be a filmmaker, and certainly in film that's a line that filmmakers cross more readily and more easily than novelists.
I am relatively familiar with getting a good old rumping from the critics. In some cases, the critics just didn't like the film - fair cop. Others, I think, didn't understand it.
Time and time again I was told that I would never make the film on time and never make it on budget. That kind of criticism tends to turn me into a great big motor of efficiency.
It's weird when you're watching yourself in a film - you can't really detach yourself from the experiences you've had that day. You're never watching the film as a proper punter.
It [the film industry] is not a glamorous industry. It's really, really hard, and you get told all the time, "You're not this, you're not that," and so you have to find a center.
I dropped out of school at 17 and joined the Irish band The Frames, getting my first glimpse into the world of professional film making while shooting of a number of rock videos.
I don't know that I necessarily feel more comfortable in the context of smaller films, but I tend to feel more comfortable more often than not with the material of smaller films.
After watching films of Jim Brown, I noticed that he never ran out of bounds. He always ran North and South and that's what I turned my style into. I was a North and South runner.
When I go the cinema, unfortunately nowadays, especially with the big commercial films, the audience is spoon-fed through the entire experience and they don't have to do any work.
I love film. I've always been enchanted by doing film. It's something I grew up watching - classics and directors I admire - so that's something I've always been passionate about.
I don't know that you can do an absurdist film and just have everybody embrace it in terms of filling out cards. I just don't think it happens. So you have to prepare an audience.
I have to say that as an actor, I really look for the role. I'm not really looking to see if it's for television or film, because there are highly talented people in both mediums.
I've lost all my money on these films. They are not commercial. But I'm glad to lose it this way. To have for a souvenir of my life pictures like Umberto D. and The Bicycle Thief.
When I go to where I was getting excellent parts in movies I may have taken a few too soon, too anxious to go back to work and to anxious to make another film and to succeed more.
I've always been a fan of 3D, going back to movies in the '50s. I was part of the early '80s 3D craze, which was coming at you in Jaws 3D, so I've always wanted to make a 3D film.
So I prefer to do the entire music for a film. And when I'm doing the background score, I can weave the whole film together in terms of themes and songs for a good cinematic feel.
Many of the shows I danced in don't exist on film, but they do exist in the memories of those who were in the theater for that single moment in time. And nothing can replace that.
The films that I go to see at the cinema are not Hollywood blockbusters particularly. I've not got anything against them... I'm in them! But I don't go and spend my money on them.
It's really interesting making films and actually seeing the life that they have in the subsequent years and seeing which ones stand up over time and which ones sort of fade away.
It's hard for me to approach [a film] as a still image now that I know exactly what it takes to make a movie. I mean, I know what it takes to make a movie that lasts five minutes.
If you're playing a cop in a modern film, you don't have to walk with your spine straight up and bow before a fight. There's a lot of free form of expressing yourself as an actor.
In 'Pacific Rim' I had to have a haircut I wouldn't usually rock. However, the moustache I had in the film - that might have to come out again. It was a good moustache. Good times.