Film Quotes

When we began filming, these people had legs, but as we were filming, they had been injured and they were brought to the hospital to have their legs amputated, and that's where we found them and asked them to come and be part of the film.

When my agents tell me how much I'm going to be paid for a film, instead of quoting a figure, they'll say: 'You're going to make ten pairs of Christian Louboutins.'

I have a desire to create more film, more beauty, more art, more love, but I don't feel desperate. It's not about creating or building a career.

I loved doing 'Pennies from Heaven.' Because you have to understand that I'd been doing comedy for 15 to 20 years, and suddenly along came the opportunity to do this beautiful film. It was so emotional to me. I loved it. I don't think it was a good career move, but I have no regrets about doing it.

To make a film and to sell it to the distributors you need a name.

I run upright mostly when I see daylight, so if you watch film you'll see I don't get hit in the chest much.

I've always just gone with the best role, and I don't care if it's in theater, film or television.

I've been interested in dreams since I as a kid and I've wanted to do a film about them for a long time.

When it comes to films, people often don't differentiate between the message of a bad central character and the message of the film itself. They are two separate things.

One of the reasons I did this, because I wasn't really looking for another science fiction film, was that my daughter can see it. She's 9 and it's really a good film for all ages.

My focus never wavered; I never accepted the film was not going to be finished.

It's nice to work with Hollywood because there is never any question of resources put at your disposal to make a film as long as it is the right thing to do.

There's nothing like being on a massive-budget film where you don't know anything, and there's a million people, and no one's communicating.

I give the spectator the possibility of participating. The audience completes the film by thinking about it; those who watch must not be just consumers ingesting spoon-fed images.

If you do a film with a studio, agents step in, they start saying, 'My actor has to get this amount of money', and it becomes about deals.

When a scene is being shot, it is very difficult to know what one wants it to say, and even if one does know, there is always a difference between what one has in mind and the result on film.

Film-makers should remain true to their principles and never compromise, there is a real revival in the British film industry but there is a danger that we will become colonial servants of Hollywood. We need to maintain our own integrity.

Every time I start a film I feel like I'm starting the first time, ever.

But I would say maybe just from an actress's perspective, probably 'Woman Under the Influence' is the best movie of all time. The style of filmmaking and the performances... you don't feel like you're watching a film.

I have made a film about jazz that tries to look through jazz to see what it tells us about who we are as a people. I think that jazz is a spectacularly accurate model of democracy and a kind of look into our redemptive future possibilities.

Kubrick never explained the ending to us, or what his intentions were. He didn't intend for it to be a predictable film.

I became a real Shell Motor Oil expert, and I did this 25-minute film. It turned out really well and, as a result, they offered me more work and lots of commercials to direct.

My very, very first professional job was when I was 19 years old - I got a job doing an educational industrial film on Shell Motor Oil's oil products. I really put my heart into it - I wrote a script for it, I did a lot of research.

In the days of Gary Cooper, James Stewart etc, film stars personified the better aspects of human nature.

And I sense it was a rather constructed, almost half narrative fiction film in some ways. A lot of it was staged and manipulated to get those things in there that I knew to be strong.

The Loved One has been the most underrated film I've worked on.

Directing is creating a whole. You're able to combine different elements and create a film that is unique and true to your vision.

I wouldn't say no to being in a film with Jude Law. I love English actors.

The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.

See, a painting is much cheaper than making a film. And photography is, you know, way cheap. So if I get an idea for a film, there are many ways to get it together and go realise that film. There's really nothing to be afraid of.