Film Quotes

Some people look at the surface, while some see what's deep down. The most important thing is that the film should somehow stay with them until the very end.

When you direct a film, everything should be about the story and nothing else.

If you invent the Mini Cooper, pour all your energy and passion into it and it gets made, you should be on a roll. In the film industry you have to start again the next day.

I know there are things I did in education that will never be reversed. I have not done that in film yet because I have only been here for about nine months.

When you work on a graphic novel or a film with people you've been together through a lot and you've exposed your secrets and weaker sides to each other.

I'd be lying if I said I had confidence in every choice I've made, that I have faith in every film I do on every shot.

My process differs... my process for a Richard Linklater film is very different than a process for Training Day.

The idea that a film is created in the editing room - it's only a certain kind of movie that's made in the editing room and it's not one that I really want to see.

I've had a lot of experience in independent film, and about how to choose. You've got to be very discerning about where you put your five bucks, and where you cut and what you don't cut.

I preferred delivering my performance in person. I liked to be in control. You couldn't be in films.

I don't go to premieres. I attend film openings I'm in, and that's about it. Fame and celebrity doesn't matter to me. The longevity of my career does.

I developed a group of friends around me that were all as crazy as I was about wanting to make films.

Toy Story 1, 2, and 3, to us, are some of the greatest films ever made, and each is better than the one before it. But if you go to Toy Story 6, they all end up decomposing in a trash heap somewhere.

The film [ Wyatt Earp and the Holy Grail] was shot on a KODAK Zi8 camera as well as on multiple camera phones. It was processed using the effects of FINAL CUT X and then edited in FINAL CUT 7.

I love that this film [Into the Forest] has a balance.

I like to be around people who make me laugh. It's one of my favorite things on a set. I hate it when people take themselves serious in a film set.

If you watch a film from beginning to end, with no women in it, it's really difficult.

That is the greatest source of my anxiety on this film [The Hobbit], is that I'm going to be lynched.

I was spending a lot of time in trailers, you know, on film sets surrounded by film people.

I wanted to make sure that I was making films about the world. So I thought well, I should go and see it. I'm spending a lot of time in - we call them caravans in Britain.

I'm not a superhero fan. I don't see those films. I'm not interested.

I have a vision of artists putting into film, drama, literature, music, and paintings great themes and great characters from the Book of Mormon.

Every single time when you act in a film, and there's a different director, which of course as actors we're used to experiencing that's what we do, it's a different experience.

If you do well as an actor, a good director will pick up on it, and keep it in the film.

Whenever I'm making a feature film, I wish I were filming a documentary, because making feature films is so stressful. It happens every time.

I always say that I am a big fan of films but I am an even bigger fan of the filmmaking craft.

For me it sounds weird saying that the filmmakers respect the film. I don't imagine that there's other ways to make a film, but unfortunately there is.

Every day I spend in Hollywood I start to realize how many films are made with no heart and no love. They just do it for the paycheck and I cannot imagine making a film that way.

Definitely my favorite cut is the one that got put out. That's my favorite version of the film, the one that I put in theaters. That's my directors cut, there's no question about it.

It was lucky that Ralph [Fiennes] is someone who understands both film and theater and we were able to understand that scene so well before we took it to the set.

The key is working with great directors. A film is so many different people and all their talents, but particularly the directors, because of the idiosyncrasies of that person.

There's such a sense of theatre in getting glammed up; it's like putting on a play or short film.

I have been portrayed by actors in three television documentaries, two plays, one musical and a film. It's no fun watching yourself being traduced and imitated by an actor.

The magic of film isn't just because of the big screen, or the acoustics, but the ineffable shared experience of going to the movies.

I enjoy making films, but my heart is in the stage. Every night you have to be on. There's no second take.

Now I have begun to get interested in films and I just hope that people start becoming interested in me to do more films.

Certainly, a lot of the films I've worked on have ended up good movies, but they haven't always been the best experiences

I like independent films... European films. I do go and see popular films as well because my kids force me.

It takes forever to make a film. It's a gargantuan thing of untold effort.

To make great movies, there is an element of risk. You have to say, 'Well, I am going to make this film, and it is not really a sure thing.'

I made this movie for $40,000, which was this little black-and-white horror film called Dementia 13, which we made in about nine days.

I know that if a film is ready to emerge out of what I write, I'll be able to go off and make it without asking anyone's permission.

I realized I probably wouldn't make another film that cuts through commercial and creative things like 'Godfather' or 'Apocalypse.'

Sometimes it's easier for me to do films about, and with, women, because I have more distance, I'm more lucid.

A film is a boat which is always on the point of sinking-it always tends to break up as you go along and drag you under with it.

What switched me to films was the flood of American pictures into Paris after the Liberation.

Every time I see a film about Joan of Arc I'm convinced she'll get away with it. It's the only way to get through life.

To make a film you have to dream a film... that's true of poetry as well.

I do have a strong desire to make films that will take the audience to some uncharted places both tonally and emotionally.

I'd like to think that my films are personal enough to exist without hearkening back to their respective novels.