Film Quotes

I met John when I was 18 and I was in my first John Waters film when I was 19.

Never take no for answer, and try to make films that turn you on.

It's on the bucket list for sure to do a comedy film, even if it was just one line on the lot.

I'm not a cinephile. My films don't reference films. I'm more interested in rhythm and feeling.

I don't think I'm more of a screenwriter than I am a fiction writer. I'm more of a reader than a film-watcher, so I imagine that I'm not approaching fiction or films in a particularly cinematic way.

Everyone says you should get a photo taken of yourself while you're pregnant. I've got a film [War of the Worlds]. It'll be nice for my daughter, too, to look at one day. She was in it.

I think film likes me better than the theatre does for some reason.

My family is not at all involved in television, or film, or theatre, or any of it, really.

There's a lot that you can do in television that you can't do with a film, theoretically. At the time, the only possibility was to do a movie.

I would like to produce films, but I feel I am an unsuccessful producer. Thats the fact.

You cant expect a man to change in one day by watching a film, right?

Pakistan now is like a horror film franchise. You know, it's 'Friday the 13th, Episode 63: The Terrorist from Pakistan.' And each time we hear of Pakistan it's in that context.

I would trade many an art-film classic for the final exchange between Redford and Streisand in front of the Plaza.

I would much rather watch a horror film or science fiction than a comedy. I don't know why. I just like them. I find them relaxing.

The script is the foundation, but it's not the full story for the film, which only comes alive with the actors.

When you go to a film festival as an audience member, it's so much fun. But when you bring your own film there, you carry so much stress and excitement.

I think the educational value is what comes first. I've always thought that the most effective tools we have for disseminating information, i.e. education, is television and film.

I take a few pictures a week, but the best part is waiting for my film to be developed. The suspense is exciting, and the reward is great.

I find it really weird that sexuality is still so taboo in films and violence isn't. It really bewilders me.

Film is an oversimplification of things. That it really boils things down and makes them too simple.

The more we can be honest about ourselves as filmmakers, than the more we can be honest with people who see the films.

I do feel that movies and music do have the power to slightly influence a person's decision. I believe that if violence is not in a person, then the film is not going to encourage them.

I've done a lot of different things. I would say, it's really hard for me to say what the ultimate role would be. You look at a film if it comes to you.

I would say music, film, and talented people inspire me.

The categories of A-minus through C-plus [films] are completely dominated by Hollywood.

There are a lot of female directors in Lebanon but we can't really talk about a true film industry, it's still very small. But we do have a few female directors.

Every search has its own momentum. It is why a search makes such an excellent plot for a film or story.

I start to paint my walls. And I'm heavily influenced by films.

[I influenced by ]the work of early [Michelangelo] Antonioni, Orson Welles and [Carlo] Pasolini, I love [Nicolas Jack] Roeg's film "Performance".

I think film is a director's medium and the good filmmakers that I like tell the darker stories. Therefore, I'm always inclined to follow people like David Cronenberg.

You're always nervous about how a film lands with an audience.

Documentary film without nuanced journalistic sourcing risks being sensational, tendentious or broad-brushed.

I have made almost as many films in England as I have in America. I will come back to England again and again.

For me, moving from photography to film was very easy.

Patti [Smith] was my experiment, to be honest. And the film is what we got out of it. At the end of the day, I learned a lot about how to make a film.

I became Patti's [Smith] messenger, basically, and the film is my view of how I learned about Patti.

Ultimately, the film [Dream of Life] is inspirational.

I was making a film [Dream of Life] about Patti [Smith], but I was taking pictures, too.

For me to see the film [Dream of Life] on a big screen - it's pretty extraordinary.

I came up with more money, took all the footage, got a great editor and made this film [Dream of Life]. But I really didn't go into it with the intention of making a movie.

We had a hodgepodge of footage. We didn't film [in Dream of Life ]all the time - we would just film periodically, so nothing was synced and nothing was slated.

The only self-consciousness in the film [Dream of Life] is anyone's natural shyness.

I had more fun making Traffic than either of the Ocean's films.

It's pretty clear to me that working as a director for hire agrees with me. I like it. The films that have come out of that, I personally like better than the ones that didn't.

I'm sure some people will say, 'Why do this?' And my response is, 'Why wouldn't you?' The film business in general is using a model that is outdated and, worse than that, inefficient.

But my sense in talking to people when I travel is that the film business is not that dissimilar from a lot of other businesses.

Recording a scene with paint rather than film sinks you more deeply into your surroundings. You have to look a little harder and a little longer. And you end up with a memento.

I didn't really do too much television. I really went straight into film.

I made two movies before The Police had a hit record: I did Quadrophenia and a film called Radio On.

My films have always been considered the benchmark in action. I have a big responsibility to shoulder.