Film Quotes
The State Film Authority will be there for film as industry only, as is the case in all the other states, except Victoria. Victoria is moving more now into supporting non-commercial films.
The tensions are always based on financial resources. Something like film is very problematic because it is viewed as an art form and also as an industry with a pure commercial base.
We are the only state that does not have a State Film Corporation there to support the commercial industry.
The more that I see the sexism and misogyny that's coming at me from every direction, the less I think my films have anything to do with sexploitation.
I think that the audience wants to see women being put into real situations where they can relate to them, rather than seeing some glamorous woman in a 'Bond' film.
The music industry seems scary to me. I mean the film industry is crazy enough so the music industry to me seems like the wild, wild West. Like I would just never dare.
Love this in the film, “Velvet Goldmine” it captures the excitement and the thrill at the moment of discovery!
I don't necessarily agree with everything I read about my films, but I wouldn't highlight a specific misconception: If people think this or that about myself or my work, they must have their reasons.
Making a film, I've learned, can be an exhausting process, due to the need for backing, distribution, etc.
In theatre, there's the director, the writer, and below them the actor. In film, it's the actors who are most important. That goes against the grain for me.
In a film, if you can capture what's going on underneath, you can begin to make a connection between the character and the people watching it.
Mr. Disney and his staff were constantly scouting for great stories to bring to life on film
Novels written with film contracts in mind have a faint but unmistakable, and ruinous, odor.
Romeo Must Die was the first film that I did where I was able to just be free as an actor.
To think one film makes a career is ridiculous. It's important to keep perspective and do things other than for money.
I still don't know what the film was about because all I remember is a whole lot of technical dialogue about a body in a suitcase.
Of course, like all film-makers I've been mesmerised by cinema since I was a child.
I don't think I treat my film work as an extension of my photography. There are two different sets of rules there.
I used to spend a lot of time cutting out film posters from papers and putting them up on the wall in my room.
Every film has an origin. It is made under certain circumstances, and that is a very important point that should be kept in mind during a review.
For me, my films have already aged. When they're finished, I don't want to watch them. Of course, I feel protective, but I try not to attach myself to these stories.
It's the people that ultimately are less talented or have less confidence in what they're doing that then try to micro-manage, which lends itself to a less than ideal film.
I have always made films simultaneously, so they go hand in hand. I think that my books are like films.
I never thought I'd be a comedian. But, growing up, I simply loved watching comedy. The '80s was huge for comedy in the US. Eddie Murphy blew me away with his film Delirious.
The demarcation between an art house film and an entertainer has blurred, only because a larger section of the audience has accepted such realistic films.
For me, what is most important is the element of surprise. If I can surprise you with every film of mine, that is exactly what I am trying to do.
The period from 2001 to 2005 was really tough. My films were not working even though there was an acceptance of a model. I was depressed but did not cry. I cry when I am happy.
As a gut thing, my next project is always the complete opposite of the thing I've just done. So if I've spent a lot of time doing film, I might then do some radio.
I can multitask very well. But I know exactly when to block off anything coming in from the outside and just stay focused on the film.
I take care to only teach courses about fiction film. I believe that this balances and broadens my documentary work.
To have a film in America means precisely nothing if you don't have a distributor who stands behind it.
The fact is I'm not making a film in order to draw pictures or make images about Iran.
'Twilight' is a phenomenon. And I'm so happy it's all captured on film. It's going to be something I'll always look back on, for sure.
You do a movie and, even if it's not a comedy or it's not an action film, you get a little taste of it, and then I want to do it full force.
I think that I'm very old fashioned in terms of my film references and what appeals to me, in a way with camera moves and a depth of color to bring things to it.
My first job was a film called 'Storm Damage' for the BBC. I was 16 and working with really respected British actors. I didn't have an agent at the time, and it kind of threw me into real acting.