Film Quotes

I feel like in Australia, all the films I've done, we're all equal moving parts in this equation of making the film - an actor is another crew member, essentially.

I'm a big fan of being scared I like being scared. I like being involved in a film that will make audiences scared, that intrigues me.

Feminism is still one of those taboo words, so hardly anybody talks about it. People usually go gender-neutral and say the book and film [Room] are about "the triumph of the human spirit.

I'm really aware that in fiction, women are pretty much equal. There's a lot of very successful women novelists. Not so much [for women writers working] in film.

I think ultimately the film 'Room' is a kind of hymn to motherhood and to the everyday heroism of parents who find their smiles in terrible times.

I wrote the novel [Room], and then I thought, "This could work on film, and I want to be the one to do it." So I went ahead and drafted it.

If you have written something that the film people want, like a book, it does give you a way in.

I think there are few films out there that take motherhood seriously.

I think 'Saturday Night Live', starting in the 1970s, really gave women an outlet to be funny. A lot of those women went on to have film careers, from Kristen Wiig now to Tina Fey and Gilda Radner.

For an actor, it is better to play well (or even not so well) in a bad film, than to not play at all.

I wasn't one of those girls who always dreamed of being an actress. I went to a normal school and then these film auditioners turned up when I was nine. Then I just fell into this whirlwind.

There are a lot of films where I play characters that are about the windows to the interior person rather than the exterior.

I love European films in general. If I were to go to the movie store or something, that's what I like to see.

It's funny because the voice-over world is definitely another career. It's another outlet to be creative. But, I'm just not invested, in the way that I am with film and television.

In my career, I have played a gangster, an ex cop, a journalist and a film director. Yet, the label of a serial kisser refuses to leave me.

I tried to dance in my earlier films, but it was more like struggling to stay afloat once you are thrown into the water.

You never compete with the people in your crew; you have your own team. Competition is only with those people whose film is releasing alongside on Friday and never with one's own team.

Sometimes, I feel promoting a film is a more difficult task than acting!

When a film is successful, you don't need to shout about it from the rooftops. I don't believe in going into overdrive. There's no desperation to be acknowledged as the reason for a film's success.

My whole experience into the sitcom world, it was, like, "This is like theater, this is like film... This is a hybrid of everything I love to do. A live audience and rehearsals and... more food!"

Any film that you make, it's a very high end game of musical chairs ... but that's just the nature of filmmaking. You do the dance with a certain actor.

I don't think comedians take advantage of the fact that television and film are visual mediums.

I never look at the size of the film when I'm looking for a part.

I really enjoy working on small films.

I've always described parts as tattoos. For actors our tattoos are in the form of films.

When you're shooting a film, you really don't get to be a dad, and you don't really get to be a husband. You don't really exist at all. But I do drag my family with me on location whenever I can.

The most serious film can be the most fun. The one that's supposed to be fun can be the most serious.

Film sets are great fun. Film people are great people to hang around with. I don't want to run off and be distracted by other things.

I don't consciously seek out Australian projects. I put them on the same table as all the other scripts and I wouldn't ever do a film just because it's been shot at home.

Some films I say no to and they end up working very well, but I don't care, I just want to do something exciting.

I would like to compare football and cinema. I think it's very similar. It's two games... different games. You have to work very hard and find the confidence to enjoy it on the pitch or in the film.

The UK needs more first class studio space to encourage the growth of the film and TV sector.

Oh, IMDB, yeah; there's a few things on there that are TV, they're not film, some things they think we did that we didn't. There's a few inaccuracies in there. It's terrifying though, isn't it?

That middle ground of films used to be 70, 80, 90, 100; now it's like anything over 20 or under 140, the middle ground has become this huge area where they don't really want to be.

Filming a pirate film is always good fun, with ships and indecent clothing.

I've always found bad films more enjoyable than good ones.

I got Michael Caine's book, Acting In Film, and I read it on the plane, desperately trying to glean information from him about how to adapt my craft, which was actually very helpful.

I'd never been to Africa. This really was my first film [The Lost World]. I'd done 10 years of stage. I'd done a little bit of television. But this was my first film.

My first film as an actor was 'Fast Times at Ridgemont High,' a glorious experience that spoiled me for future films.

I might do my own independent film, that my husband wrote for me, if all the ducks are in a row.

And I'm hoping that over the next 20, 50 years, whatever, the mystique of television and film and all that will diminish somewhat, and people will leave us alone to get on with our jobs.

The gaslight of the film [The Girl On The Train] became something that really needed to be dramatized more than the book did, because it wasn't going to read as strongly on screen.

I've made six or seven good films. The others, not so good.

My films are as much concerned with truth as anything in vérité. Maybe more so.

You can't tell by looking at a film-clip whether it is a drama or a documentary without knowing how it was produced.

I've always loved [Elsa Dorfman] work. I've loved her and her work is so much an expression of her. One of the reasons to make the film is to expose Elsa, hopefully, to a wider audience.

I don't think that anybody really makes films quite like mine. That's maybe true of any filmmaker.

Film is lies at twenty-four frames a second.

I'd rather be appreciated for my character in a film than my looks.

I love watching horror films because I don't get scared easily.