Film Quotes

I've had nine of my books adapted to film, and almost all were enjoyable. I've been very lucky with Hollywood, and look forward to more movies being adapted. But I don't get involved in that process. I know nothing about making movies and I stay away from it and hope for the best.

Fortunately, both television adaptations and the film I've been involved with are pieces of work that I'm proud of, so I'm very happy for people to focus on them.

A film based on a jolly good John Grisham book is fine, but I like to get a bit under the skin.

Both me and Edgar are firm believers in never underestimating or talking down to an audience, and giving an audience something to do, to give them something which is entirely up to them to enter into the film and find these hidden things and whatever.

It's all just one film to me. Just different chapters.

When you're on a set it can be very tedious and slow. It's just not as big as when you see it on film.

As a young man, I went to Paris and soaked up many hours of film knowledge from Robert Hakim in my efforts to become a producer.

I made two movies before The Police had a hit record: I did Quadrophenia and a film called Radio On.

House was the first film where I had no influence on the script. I had to buy the script with the game rights.

I wanted to be a martial arts film star when I was a teenager.

You are not an active creator of the film.

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.

I come from a world where you get the film done, that's a success.

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.