Film Quotes

My husband. He keeps me grounded. If I were in the world on my own, it would all be much more seductive. But I'm in a relationship that has nothing to do with the film world.

Well I would never say to anybody that Warren Beatty got fired, but uh, I think he and Quentin fell out of love, and I think Warren told Quentin to hire me for the film.

Whenever I think of the high salaries we are paid as film actors, I think it is for the travel, the time away, and any trouble you get into through being well known. It's not for the acting, that's for sure.

I think anybody who's famous has to deal with their fame in their own way, and I dealt with it by making a film about a kid who's looking out into the world of celebrity obsession.

This film, Tomb Raider 2, is a big challenge. It's quite exhausting.

But I suppose film is distinctive because of its nature, of its being able to cut through time with editing.

The fact is that you could not be, and still cannot be, a 25-year-old homosexual trying to make it in the British film business or the American film business or even the Italian film business. It just doesn't work and you're going to hit a brick wall at some point.

Then my first film was something called Cannibal Girls, which sounds like a horror movie but was actually kind of a goofy comedy with horror elements. Like a horror spoof.

Originally the film opened with Ryan in the doctor's office, being told his wife is dying. Then we see him walking the streets, and the story is told in flashback.

I don't care if I get $50m to do a film.

I'd love to work with the people who really got the film industry going again through the '70s: Peter Weir, Bruce Beresford, Gillian Armstrong, Fred Schepisi.

When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.

You could get in rehearsals, pre-production, anything that would actually contribute to the understanding of how a film gets made. I actually find those things increase people's interest in a movie and like that better than worrying about showing the tricks behind the curtain.

We took up the offer with the BBC, and that was Monty Python's Flying Circus. I didn't have to submit my ideas to the group. I used to turn up on the days we recorded with a can of film under my arm, and in it went.

We are the only state that does not have a State Film Corporation there to support the commercial industry.

I can't do a film if I don't start with the writing.

There's an unwritten law that you cannot have a Jewish character in a film who isn't 100 percent perfect, or you're labeled anti-Semitic.

They all matter to me, whether I'm working on a Sam Jackson film for a week or I'm the star of my own TV series - I take it all very seriously, and I have a healthy respect for the work in general, despite the role.

You know, the people who do indie film and decide who gets those little budgets? They're mean, man. They're cold and very cool-oriented.

When we shoot 24, there are so many things I have to worry about, from the script to technical things to my performance, that I don't have a second to be bored or take anything for granted. We produce 24 hours of film a season, which is like making 12 movies.

I don't see a film industry in Germany. They have a great TV culture, but how many German films are really exciting?

'Marnie' was ahead of its time. People didn't talk about childhood and its effects on adult life. It was taboo to discuss sexuality and psychology and to put all that into a film was shocking.

And I'm auditioning right now for a movie, and then I have a script that I'm reading right now for a horror film, and I'm meeting for a couple of television shows that I just had yesterday, and pretty much was offered one of them.

I can't do the same movies all my life. I'm conscious of that. But it's a trade-off. 'Dear John' allowed me to do movies I've wanted to do. You learn to balance it out. I'm still learning. Only now am I getting to do the kinds of movies that I have wanted to do. So it's a steady climb. You don't jump into a Soderbergh film.

I always prefer the big laugh. That is always the objective, especially with a film like Scary Movie 2.

I had lived in Fukuoka during the mid 1990s, and I was a volunteer with the Fukuoka Asian Film Festival.

And friends of mine that had photography class in high school would develop the film and make prints and I'd take them back to the track and give 'em away or try and sell them. Much to my parents' dismay, I majored in photography in college.

We wanted to make sure that the film covered the main issues of his life. Musicianship, appearance.

The film is a direct mirror of the director. If your director doesn't know how to dress, there will be an aesthetic of the film that won't come through - whether it's in the costumes if he doesn't know exactly what he wants or the look of the film.

I don't think you should feel about a film. You should feel about a woman, not a movie. You can't kiss a movie.