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If I'm in theatre, cinema doesn't even cross my mind. Similarly when I'm making a film, theatre doesn't cross my mind.
I'm an actor because I love movies, and always have loved movies. I'm a film buff. So, getting to work with those kinds of directors and getting to tell those stories is what I want to do.
I think empathy is a beautiful thing. I think that's the power of film though. We have one of the most powerful, one of the greatest communicative tools known to man.
Every time that I'm challenged with a film I think that I haven't learned anything, that every film is different and that every thing that I have learned is useless in this new adventure.
I stole a piece of the chess set on the first film. I took a piece of the treasure out of Bellatrix's vault on this film. And I've taken my wand and I've got my cloak.
It was great to work in Ireland because it's such a beautiful country, but it's not particularly easy to film in because the weather changes all the time.
Becoming a producer enables you to empower yourself, to make the film that you want to make. I have desires to make movies - I have movies I'm developing, and things that I'm interested in.
There is no filmmaking legislation because distributors are not interested in sharing their money with the film industry - for instance, by giving a percentage of ticket sales back to filmmakers.
You're making a movie, not a documentary. If you made a film like the historians would like you to make, you're not going to go and see it. I'd rather see paint dry.
The difficulty of writing a good theatre play set in new reality was even greater given that the level of similitude to life that is allowed in a film would not work on the stage.
When a film is created, it is created in a language, which is not only about words, but also the way that very language encodes our perception of the world, our understanding of it.
I hate to go out on a limb after only one viewing, but Nashville strikes me as Altman's best film, and the most exciting dramatic musical since Blue Angel.
Lola Montes is, in my unhumble opinion, the greatest film of all time, and I am willing to stake my critical reputation, such as it is, on this one proposition above all others.
You always make a film with the hope that all types of people will want to see your work and that it doesn't matter about your color, but unfortunately it still does.
It has nothing to do with commercial success. You cannot calculate in your head how to put the mosaic together to make a commercial film: that's out of the question.
Shakespeare's so bloody difficult, and I don't like failure. You can fail on film, but there's nobody actually there in the flesh to watch you failing.
My grand plan is that I can master having a better life by making sure I have a regular flow of songs. Then I can give myself time to tour or celebrate or write a film score.
I love doing interviews that are about work that I do, films that I make. I am not very interested in the rest. I think I have always been quite reserved and a bit frightened of that whole thing.
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.
My argument has always been that this is not an anti-Bush film, it's a pro-democracy film. And if George W.Bush comes out on the wrong side of democracy, that's his problem.
I never think about a movie when I'm writing a book, because I think only two things could happen and both of them are bad. You write a lousy novel and a lousy film.
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.
There's really no reason film and digital can't happily co-exist and benefit from one another. Anyone who tells you otherwise is just trying to sell you something.
As in, I think 'Badlands' is one of the funniest films of all time: "Every day I wish I was carried off to a magical land, but that never happened" is one of the funniest lines in any film.
I'd rather make an interesting film that gets people talking, that maybe some people hate, than make the kind of 'entertaining' film that everyone feels ambivalent about.
In that film Love Story, there's a line, "Love means never having to say you're sorry." That's the dumbest thing I ever heard. Love means saying you're sorry every day for some little thing or other.