Film Quotes

If you take the time and put in the effort to write your own material and absolutely refuse to be denied the right to make your film it is difficult whatever colour you are.

I can't think of any one film that improved on a good novel, but I can think of many good films that came from very bad novels.

By the first week of shooting, you know exactly where your film is heading based on the psychology of your director.

I mean they're making remakes of my films and I'm not even dead yet! Why would you want to make a remake?

Each thing leapfrogs. I do a Genesis project - like now, we're just finishing off an album - and then by the time the album is doing its thing, I could do nothing or I could do a film.

If you don't generate tension in the film to begin with... you can't really make a purse out of a sow's ear, you know.

I prefer to commit 100 per cent to a movie and make fewer films, because it takes over your life.

I became a real Shell Motor Oil expert, and I did this 25-minute film. It turned out really well and, as a result, they offered me more work and lots of commercials to direct.

But you know, there's always a danger nowadays that films are gonna be brought up to Canada for budget reasons. And that's something that really concerns me.

I discover what my film is by embarking on the journey of making it.

My first student film was Orientation, which was basically the set-up for Animal House. There are a couple of scenes that we later borrowed in some form.

Film's hard when you don't have any relationship with the director at all and you just show up. Then you really are just a gun for hire.

In film, you have to let go sometimes.

My dentist said to me the other day: I've enough problems in my life, so why should I see your films?

The film of tomorrow will resemble the person who made it, and the number of spectators will be proportional to the number of friends the director has.

But since doing the film ["The Invisible Woman"] I've really learned to appreciate [Charles Dickens], he's phenomenal. "Great Expectations" would be one of my favorites.

When you shoot a film, you have very little time to waste, and I try to go into the character as soon as possible and stay there as much as I can.

The predominant difference between television and film is the pace to which you work, but the development of the character or the process for playing the character isn't necessarily different.

People who are good at film have a relationship with the camera.

I would consider directing. I think directing myself would be tough, but I'm definitely interested in directing. I might start off directing a play before I move to a film.

I saw 'The Artist.' It's really beautiful and it's all done to the letter with all the silent film techniques. The costumes were amazing and the dog is so good.

I didn't like writing just articles and things. So then I wandered around. I tried my hand at film and television and that was a worse fit because I don't really have a mind for that.

It's very hard to become an actor in film and television, you have to have such perseverance and you have to really believe that if you have any sort of talent at all, you will find work one day.

Ten Days That Shook The World, by Eisenstein, I went to see it, and I was so impressed with this film, so impressed with what cinema could do.

Films like Fargo are why I love the movies.

I always found the film world unpleasant. It's all about the schedule, and never really flew for me.

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.

All we try and do is make the best films we can. If you do that then hopefully the audiences will come, and they have. Everything else is gravy.

My film is not a movie; it's not about Vietnam. It is Vietnam.

I have been inundated with offers to move into a career in television or film, and these, too, are tempting.

The very earliest people who made film were magicians.

It's so easy to manipulate an audience, but it's nearly always clear that you are being manipulated. I think even people that are not critically attuned are aware of cynical manipulation in film.

A film is a terrible thing to waste.

Film theory has nothing to do with film.

I didn't have any idea that I would be able to have a career in film.

I think Kellie Martin, Reese Witherspoon and Claire Danes represent the future for women in film, and I would be honored to share the stage with any one of them.

The problem with doing a schlocky or big budget studio film is that it wouldn't actually be fun for me. It wouldn't be exciting.

Then my first film was something called Cannibal Girls, which sounds like a horror movie but was actually kind of a goofy comedy with horror elements. Like a horror spoof.

Then I became interested in drama, and almost by accident, I drifted into film.

I'm always struck by the kids who turn up in New York and LA, and places in between. Chicago. Wanting to do theater, wanting to do independent film. Wanting to break into television or radio.

The work is the work. The work is not me. I like the anonymity that directors can have about their films. Even though it's my voice, I'm a storyteller.

Boy, I'd hate to shoot on tape or disc or whatever the hell they're talking about. I love film.

I think graphic novels are closer to prose than film, which is a really different form.

It amazes me that filmmakers will still film, and audiences will still watch, relationships so bankrupt of human feeling that the characters could be reading dialogue written by a computer.

When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.

I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.

Arguably, the Venice Film Festival is the second best film festival in the world, after Cannes.

Every time I make a film, I feel it gives me the chance to learn something new.

To me, length is an artificial and arbitrary factor in a film.

I'm interested in making films that ask questions and don't particularly provide answers.