Film Quotes

I didn't have any idea that I would be able to have a career in film.

I don't film messages. I let the post office take care of those.

Directing a film was something I was yearning to do. I always wanted to see if I had the capacity to be a good storyteller.

The only other human endeavor on which there's more 16-millimeter film than pro football is World War II, and we're going to pass that in 2013.

I had no desire to be an film actress, to always play somebody else, to be always beautiful with somebody constantly straightening out your every eyelash. It was always a big bother to me.

When a film company is in the red they come to me. Always it is the same.

Everything about filmmaking tries to distract you from that first fine rapturous vision you have of the film.

I have to tell everyone that when I finish a film and it goes out and is released, I never look at my films again. I don't like looking back. I don't even like talking about 'em! So I'm really digging back in my memory because I don't like to sit and look at my films again.

I was influenced by European movies, old Fellini, old Kurosawa - any sort of foreign film.

The difficulty with the present state of affairs is that there is no legislation on the sources of funding for the Polish film industry. There is no legislation concerning filmmaking. And, there is no legislation on television that would be beneficial to filmmaking.

And doing a film in that period, and having to really celebrate what they wore back then, how they sat and how they spoke. You know, what the etiquette was back then for a lady. All of those things are like putting on a wig and transforming yourself, which I love.

It's always interesting - how do you actually convey thought through song? We're used to the convention on stage. In film, we used to be used to it, and now sometimes it works and sometimes it doesn't. You need to be fresh and really look at the material.

You really have to soak up the culture of the people to get it right. If you're making a fiction film, it's entertainment, but you want it to be as real as possible.

Ten Days That Shook The World, by Eisenstein, I went to see it, and I was so impressed with this film, so impressed with what cinema could do.

I'd go from film to film and almost detach from one world and jump in another. I was living as these people and not having a self. I didn't know who I was. And things just get really dark.

I have a second bedroom I don't use. I'm going to start the Second Bedroom Film Festival. You're all invited.

It's becoming increasingly harder and harder; there's no such thing as independent film anymore. There aren't any, they don't exist. In the old days you could go and get a certain amount of the budget with foreign sales, now everybody wants a marketable angle.

The big difference with Juliette and the others in that film is that she goes beyond acting.

I think we have the wrong notion of commercial and intellectual or artistic film. Because all films are commercial.

There are certainly laws and elements that make a film more accessible to mainstream audiences. If you've got Tom Cruise as a strongman, I'm sure it would have larger audiences, but it wouldn't have the same substance.

I think that is what film and art and music do; they can work as a map of sorts for your feelings.

This film business, perhaps more so in America than in Europe, has always been about young sexuality. It's not true of theatre, but in America, film audiences are young. It's not an intellectual cinema in America.

I think opera has gained a kind of glamorous appeal. It's a live performance that aligns all of the arts, and when it is represented in the media, in film in particular, it is presented as something that is really a special event, whether it's a great date or something that's just hugely romantic.

One person doesn't have to shoulder all the responsibility for why a film does or doesn't do well.

If you're doing a drama that has some comedic elements you can't forget that it's primarily a very serious film that has some light relief.

When I'm promoting a film, I'm not going to get caught up in anything else, and that includes all my personal things.

No, I'm not a comic book guy. I'm pretty fascinated with the subculture though and I do think that the world of comic books is such a natural transition into film.

But so long as we can keep this crew of fantastic people together and can continue to make real breakthrough films in this category, as well as characters that stay true to what we've done in this first film, I'd be more than happy to be a part of it.

If you make a feelgood film which is complete candyfloss, where everybody is good and everything is beautiful and hunky dory, it won't appeal to the audience.

I am hoping to film another ad in the summer for Carte Noire.