Film Quotes

I think honestly, believe it or not, that Dude, Where's My Car? in a way represents its time better than almost any film made around that.

I always refer to [Stardust Memories] as Sharon Stone's and my first film.

[ Felicia Day] is really figured it all out, and it was impressive. It was nothing like our set, because her set was like working on a real film.

[Out To Sea] began a relationship I had with [director] Martha Coolidge for a few years that was wonderful, and she certainly cast me in the best roles I've ever had in film.

You know what's funny about movies? You can watch one, and then you watch it again at a different stage in your life, and you understand different messages from the same film.

What keeps me interested--and it always does--is how can she be a bad actress on film but a good one in reality?

Sometimes, you chase the moment and you can never catch it. Films take so long to make that you can never anticipate what the cultural landscape will be when the film enters the world.

I want to print books by people in the film industry.

Would it be nice to win a film award one day? Yes. But the critics are going to have to wait till I'm ready. Right now, my gift is making big movies that audiences want to see.

In my own experience, the scripts that I wrote, if they didn't go within two years and become a film, they never went and no one ever came looking for them.

I know a lot of directors have a whole staff of people trying to find their next film for them. I always just end up writing mine.

Probably though, by the time I was 17, I already knew that I was probably going to go into film

Comics are essentially films with fewer frames per second.

In film, you have the luxury of accomplishing what you need in 24 frames every second. Comics, you only have five or six panels a page to do that.

I think that every film should have its own structure, and that's the beauty of film language - is that we get to express that deeply individualistic side of ourselves.

It can be difficult to present mental illness in film without resorting to devices that, if not handled well, can seem heavy-handed or cliché.

In documentary you sometimes see the tyranny of the linear, but what I've noticed in the last ten years in narrative film is the tyranny of the non-linear.

Films have never shown the kind of relationship that can exist between two women.

I am astonished and surprised that someone could consider making a film about me without talking to me about it.

I did 125 films, and over 100 television shows, and you've never seen the same character twice.

I think one thing for sure that you learn the more films that you make is how important it is to choose your collaborators.

When I was a kid and going to the movies I was overwhelmed by the way women were always second-class citizens in the film.

I have a really difficult time watching myself on film. I literally cower in my seat and cover my face.

I wish I would have had more to do in the film. I hated to get killed so soon.

With a film, I do my best to understand the author's intentions and try to bring the characters to life.

Film is shot in fragments, and the same moments can be shot again and again until the director is satisfied.

In opera, everyone's watching from a fixed viewpoint, and that really challenges you. Lighting, the sets, stage groupings, the music-but doesn't relate too much to film.

At HBO, they seem to be well-informed. They make what I think are really quite mature films.

I'm not interested in making a $60-million studio film with a bunch of 24-year-olds telling me what to do.

I have always been first and foremost a cinephile, so making references to other films is second nature to me.

You can kind of judge how old a film is by the size of the cell phones.

I just have more fun when I get to try new things - and the action film genre has kind of painted itself into a corner, copied itself so many times and it has basically run out of bad buys.

Justin Timberlake is terrific in this film. I told him it's time to stop singing.

I hate working out. Because I work out for films now solely I come to associate it with work.

I'm not afraid of being thought of as someone who is associated with film music. Why not? If it's a good song, what does it matter?

Is it inevitable after a successful film that they're going to ask for another one? Yes. Do we want to rush and do it for that reason? No.

I did some songs for Baz Luhrmann's The Great Gatsby. I had done a jazz album of Roxy songs, and they used bits of it in the film. It would be nice to score a movie one day.

It certainly made a film writing career for me.

'Son of Saul' film is extremely emotional; you're watching people walk in, you're watching people die. It centers around a child that goes into the ovens but survives the gassing.

'Brookline' was a very small film and it was only here for a very short time and I wasn't able to catch it.

If anyone was going to write a song or, you know, or a book, or make a film about a girl like me, it was going to have to be a girl like me, and quite literally, me.

So, my fellow Christians, protest this film if you like, but then how about devoting some energy to fill the vacuum created by your retreat from popular culture.

When you listen to the music, you can also see the film or read the article, and it's all part of the same journey that you get to take with the artist you're interested in. It's a balancing act.

I do feel like there's a spirit and a tone you can set that lets people know that they're appreciated for being there. It's a sense of spirit that I think every film should have.

Even if I loved the script, the director has to be right because it's all about the filmmaker. It's their vision. They're the ones that go back into the editing room and reassemble the film.

I had many years where I just worked from film to film to film. And then all of a sudden I went: "Where did I put my bags down? Where's my little place I call home?"

What drives me is what I'm putting out into the world, and I like to make films that people can connect to, or they can escape in.

It's such a commitment, making a film, you're really dedicated, it's your life, that's all you do for that period of your life.

I know it's good when I see a smaller film get recognized because it means more publicity for them. When you start producing and directing the movies are a little more like your children.

I never sit in a cinema and go, "Ah! I want to be in that film!"