Film Quotes

My whole goal was to be able to work in television and film and maintain a normal life, never be in a tabloid.

To decide to film a movie again shot by shot, you must be masochistic to a certain degree because it is a much greater challenge.

As a European filmmaker, you can not make a genre film seriously. You can only make a parody.

I haven't got anything against films that are about the minutia of relationships or customs, but I love extremes.

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.

Film acting has been a very pure experience, because you have to give the purest form of yourself as an artist.

In film school, I knew I wanted to be a director, but I found out pretty damn quickly that nobody was just going to hand me a script to direct.

I'd never make a film that I am not passionate about. My whole life, I've only made the films I wanted to make, even when I had limited means.

I consider all my films experiments.

I want to have the illegitimate child of independent film making and the budget to make it. That's my aspiration.

Here is how I work: when I think that a film needs to have a principal theme, I search for a melody.

Every film I try and make it the way I see it in my head, and it really just depends on the script and the people I'm working with or whatever interests me at that particular time.

A film is the director's medium. The theater is an actor's.

Absolutely, 'Rabbit Hole' gave me a nice first introduction into film acting.

But in fact if you look at film as a metaphor, only through the negative can you have the positive print. What I'm trying to get to is the positive value of negation.

I don't know what to do with myself between films. I end up doing unhealthy things like shopping or drinking. I'm pretty schizophrenic about it.

A feature film is twenty-four lies per second.

Other actors like to rehearse on film-they like 30 or 40 takes. When you get an actor like that, it becomes difficult for me because I'm ready to quit after number two.

I can tell when an actor's forcing tears, and it's tricky because you then have to film it and edit in a certain way to skirt around the issue.

By drawing or exposing two or more patterns on the same bit of film I can create harmony and textual effects.

I don't have any sort of calculus in choosing film roles.

I'm really proud of Blair Witch Project as a film, but as far as the cultural phenomenon of it - that was just weird luck.

To make a film, the final big collaborator that you have is the composer.

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.

As I'm getting older, I want to make sure every film I do really counts.

I like films that are well-written and concise and with not a lot of room for improvisation.

I wanted to be Anthony Hopkins and ended up being neither a film star nor having a career on the stage.

There's a personal story of my own that I will write at some point, and it's a film that I will happily make. It could very well be the next thing I do, unless someone shows me something great.

I need a challenge. I need the intellectual stimulation. I'm a member of a community on each film, working in concert to try to bring an idea to life. It's a great job.

The film [Dream of Life] is not really an amateur work, despite the fact that none of us have ever done anything like this before; aesthetically, none of us are amateurs.

I am an independent film-maker first and foremost. I have always cut my own cloth.

They say now in America that final cut doesn't mean anything. As Harvey Weinstein said to some film-maker, 'You can have final cut. I'll open your film in Arkansas.'

Even though some of the films I've made haven't been particularly commercial, I don't find them failures.

It's great to be in a film that's able to have people really want to become socially conscious, to walk out of the theatre and want to do something.

Film is not very practical. The new world goes faster, and digital is very fast.

But I have had the luxury of working on good films with great people.

I guess I think that films have to be made totally by fascists -- there's no room for democracy in making film.

They say 6 million people see you when you act in a film; it may only be 600 in a play. But the effect on the 600 may be truer and more lasting.

Dragon's Lair 3D is about as close as you can come to controlling an animated feature film.

Roy Keane is Damien, the devil incarnate off the film The Omen. He's evil. Even in training.

There is this old thing that a lot of people say - that the worst experiences make the best films. I don't subscribe to it. But I've seen it happen.

All you have to do is to look like crap on film and everyone thinks you're a brilliant actress. Actually, all you've done is look like crap.

Once a film gets into production, the actors sometimes begin to have more input than a writer does.

As soon as anybody puts anything on film, it automatically has a point of view, and it's somebody else's point of view, and it's impossible for it to be yours.

I can still recall the thrill of shooting my first film.

A film is a machine made of images

I even agree with the new digital ways of filmmaking, where you don't even have physical film in the camera, but to be honest, I wouldn't want to use it.

I think science and spirituality are one and the same, I don't think they're really different. The film makes pretty clear that quantum physics is validating all kinds of spiritual teachings.

I wanted to become an engineer, or get a masters in business. But I had the opportunity to do films when I was about 25 and it was a great way to express myself.

Sometimes you want to use the music in a clarity way to explain something in the film.