Film Quotes

In terms of the films I make, I'm just more excited about it if I've written it. It's like living in a house that you've built rather than a rental.

I'm obsessed by film. I'm obsessed with music and producing and making things happen.

Directing a film is a lot of work.

It's funny, but three of my early films were with Liam Neeson, before Liam Neeson was a big star.

I like when I use music in film that it isn't just gilding the lily and it isn't telling you how to feel. It's giving you something, some other information that you cannot otherwise get in the scene.

I tell people if I want to make a film I just go make it so you can make yours.

Cinema Paradiso' is a fantastic film, I love that.

In a film, you always try to have your main character be changed by the end.

I go to the movies. I absolutely love film.

There have been times when I've made special arrangements to meet people in music, film, business or politics, and I'll continue to do so if the people are sincere.

I have had several offers to make the book into a film. I don't know if the message could be accurately transmitted, and so I have been somewhat hesitant in granting film rights.

I teach Zen, tantric mysticism, jnana yoga, bhakti yoga, Tibetan mysticism, occultism and psychic development. I also teach poetry and literature, film and many other different things.

The world that you see is like a motion picture. We are engrossed in a film and we have forgotten that we're sitting in a movie theatre.

There's a different film being made in every mind. And of course, the star of the film is the mind, the personality, the self.

Pass the popcorn, please. Life is a film, theatre, a theatre of the soul. We play different roles on different stages. At death, we walk offstage. At birth, we walk onstage.

I do not think that my films or films by any other filmmaker represent "THE TRUTH." I do not feel the need to categorize my films or anyone else's.

My job as a film editor is to construct a dramatic narrative because otherwise it's just a chaotic arrangement of sequences.

A lot of the issues of rhythm in film are found in the editing because it's very rare that any sequence is the sequence that is shot.

When you're working with film and you hear that mag starting to roll and you know that there's thousands of dollars just spinning around, it's another stress element, which I don't enjoy at all.

I like working on big budget films.

It's my story ["Selling Isobel"].I chose to write a screenplay about it because I think film is the quickest medium to get a story out, rather than writing a book.

I considered writing a book too, but I think people don't like to read, to be honest - they want to watch. People want to see crazy things, so we decided to make a film ["Selling Isobel"] instead.

We reached a compromise [in film "Selling Isobel" ] - arty on the one hand, raw and crazy on the other.

I'm American and I wanted my friend and people to see ' Red Army' . I didn't want it to be a film for Russia, although I did show it there and they absolutely loved it.

I spent several years in the film finance business, but I returned to what I loved most about the industry - actual filmmaking, producing, writing and directing.

I found my father's Super8mm film camera when I was around eight years old and started shooting with it. I had no idea what I was doing at the time, but that's really where my filmmaking began.

We have a documentary film festival in Mexico. It's really original. It's called Ambulante, and it's a film festival that travels around several cities in Mexico.

Film-making is a business and at the bottom line people who don't make fiscally responsible decisions end up going into another line of work.

I've always loved comic books, which is why I've done films like Hulk and The Punishers.

There's big studio films I didn't want to do. I didn't want to go through the hoops and ladders. I wouldn't have been able to work with the directors I've worked with if I did those studio films.

In the middle of Beaches there's a scene from the "Laverne & Shirley" TV show so they see some history of my work in each film.

I develop my own film. And I work in spurts. I pile it up.

I'm always very interested in going and discovering a young director's films.

When you see period films, it tends to often be with older actors.

When you're so passionate about cinema, the idea to direct your own film is really appealing.

Hany Abu-Assad was sitting next to me, and his film 'Paradise Now' had won the Golden Globe. He said to me at the Globes, 'Paradise now, talk to you later.' [laughs] I gave him a big hug for that.

Because for that day, I really did become Lulu. Maybe not from the film or the real Louise Brooks, but my own idea of what Lulu represented. Freedom. Daring. Adventure. Saying yes.

When I want to support a film starring actors I like, I purchase several tickets at the box office - even if I can't stay for the movie.

My knowledge of horror films is pathetic because I can't really watch them.

On film, you can't do it over again. And you do have to stop shooting at a certain point.

I think when you write an enigmatic character into a film, you have to have real confidence that the audience are going to go with it.

The films that I go to see at the cinema are not Hollywood blockbusters particularly. I've not got anything against them... I'm in them! But I don't go and spend my money on them.

My family was never cultural in that we never went to see plays, my mum wasn't very into films.

I've nearly walked off very big films before, and I would, because I don't want that in my life. I want to enjoy the work I do.

I've done about four deaths in films now, and I think it's quite good because then it's sort of a memorable moment in the film.

I've always wanted to write about a "haunted" film, something imbued with a malign, potentially fatal attraction, an image which poisons everyone who's unfortunate enough to view it.

If 'Trek' is a hit, we'd love to do a series of films - a regular event. Look at James Bond's films. They've been around since the early sixties.

I prefer live musicians whenever possible. And I tailor the ensemble to what is appropriate for the film and the score I'm writing.

I guess I've been fortunate in having an ongoing film career while being based in Melbourne. I'm happy to commute. A day on a plane. Come on. It's easy.

I die in almost every film I've been in.