Film Quotes

I always wanted to film 'Biggest Loser' in Hawaii. We could call it, 'Come on I wanna weigh you.'

I believe that the story is the most important element of any medium whether it's theater, film, TV.

Death comes in a flash, and that's the truth of it, the person's gone in less than 24 frames of film.

I have the embarrassing thing where often if you're watching a film, you kind of go through the emotions and the thought stages that your character went through, but you sort of do it with Tourette's. So I end up often crying when I'm crying, and looking angry when I'm looking angry, so it's pretty ugly.

I also have a film coming up called Breaking Up, and my part in that was not written for a Latina, and my character is not particularly pretty or sexy or exotic.

I think you can't be passive in making this film - or in watching it.

The more unique your film is and unusual it is and difficult it is, the harder it is to get it financed. That's why a lot of good filmmakers are doing television. They do HBO movies.

My movement from painting to film was a very conscious one.

It was not possible to film in California, because all the areas are heavily built up now. Coming to Cape Town is an invitation to step into the past and recreate Los Angeles of the 1930s.

I like making black and white films in natural surroundings, but I much prefer shooting a color film inside a studio where the colors are easier to control.

Fear is a problem with film music and films; people want to be conventional, and there's more commercialism today. If you are not daring in your art, you're bankrupt.

The only difference from one $100 million budget film to another is which of the 12 box stars are getting $20 million to be in it.

I can be intimidating, but not within the confines of a film shoot.

But, you know, when I choose a film I need to believe in it and believe I can do something special with it, and after a while that means not trying to judge or analyze why I should do it. You have to follow this intuition thing, which is a mystery to me.

Polar Express is not an attempt to do animation. It is a technology-based film.

You can't be trying to make a film that pleases all people, you know, so it's not a concern of mine.

I wanted to write a film and I thought the best way to do so was to train myself within the field... It was just like a cycle of people trying to make it, not making it, doing extra work, and it was pretty depressing in the end.

When I was in film school, it was said that all good films were characterised by some form of humour.

I made this film 'The Beach,' which didn't take place in a city, and it didn't really suit me.

What I'd really like to do is do a film or two a year and then do theater in New York the rest of the year.

I think I've done every disgusting thing you can in a film.

For the most part, the American film market has become very corporatised, even independent film to a degree, and because of the corporate management mentality, they want to take the safe way.

Director Gary Ross has created an adaptation that is faithful in both narrative and theme, but he's also brought a rich and powerful vision of Panem, its brutality and excesses, to the film as well. His world building's fantastic, whether it be the Seam or the Capitol.

I like to rehearse with the actors scenes that are not in the script and will not be in the film because what we're really doing is trying to establish their character, and good acting to me is about reacting.

The director is the only person who knows what the film is about.

In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.

You make a lot of films, do you? You make a lot of films yourself? Yeah, I'd like to see you make a film first before you get to talk about it. What a jerk.

I was saying as a joke the other day that I love film editing, I know how to cut a picture, I think I know how to shoot it, but I don't know how to light it. And I realize it's because I didn't grow up with light. I grew up in tenements.

Although the French were very friendly and helpful. On one location we were to film at the top of the Eiffel Tower but we couldn't, as it was so misty with four inches of snow on the ground. We couldn't see a thing but we finally got it done.

I studied acting at Boston University. I was in the theater department there. Somewhere in there I decided that wasn't what I was going to do and I went to the B.F.A. film program at N.Y.U.