Film Quotes

Each time you do a film you gain a lot of experience and build a visual resume where people get to know who you are.

Luck is everything... My good luck in life was to be a really frightened person. I'm fortunate to be a coward, to have a low threshold of fear, because a hero couldn't make a good suspense film.

Listen, anybody who has a film festival has the right to show what they want.

I mean, it was a mummy movie. It was a good film independent of its source. It that looks like Lawrence of Arabia on steroids in a lot of ways.

It's hard when you're doing a film based on a true story to really figure out what all those relationships were.

The challenge of film is making it right there at that moment, and then you get to move on.

I did manage to secure a feature film for 2005, though, which I'm really chuffed about.

I'm not a film buff. I don't watch a lot of movies.

I think the book struck me in a few ways that I thought very interesting to pick it as my first martial arts film. It has a very strong female character and it was very abundant in classic Chinese textures.

Look, I'm just a storyteller. When I make a film, I never want the film to become a vehicle of social propaganda.

And you know, we did it as an independent film, and we weren't expecting it to be on television, and Lifetime ended up buying it. And the viewers responded intensely to that film.

I think we have the same goals in mind. We are not planning on just all of a sudden taking a film and separating. Hopefully one day she can direct me in something, or I will direct her. Or we'll produce a movie under our company's name.

In any art movement, the art has to move into a new phase - a filmmaker has a desire to make a film that is not like a previous film.

I loved 'Junebug.' It was one of my favorite films, my favorite type of film.

The biggest difference for me is momentum. On a smaller film you get to shoot sometimes four or five scenes a day and you've got to do the tight schedule. I think I really feel the luxuries of a big budget film.

And although I've been very fortunate in the film work that's come my way, I need to get back to the stage. If I'm away for a maximum of two years, I feel something's wrong.

My first student film was Orientation, which was basically the set-up for Animal House. There are a couple of scenes that we later borrowed in some form.

If I'm working on a film, I'll do sit-ups for before I shoot. Like, 100 in the morning or something.

I got too fed up with films that didn't make you think. I liked the idea of one that you'd have to be dancing around with. I like my mind to be engaged when I watch a film.

You're making a movie, not a documentary. If you made a film like the historians would like you to make, you're not going to go and see it. I'd rather see paint dry.

Unless it's done superbly, as in the Japanese film Gate of Hell, color can be a very distracting element.

Maybe it's a little ambitious of me to presume that no matter how big the film is, that I can always go down to the shop to buy a pint of milk.

My cameraman and I devised a method, which we started using from my second film, which applies mainly to day scenes shot in the studio, where we used bounced light instead of direct light. We agreed with this thing of four or five shadows following the actors is dreadful.

The silent film has a lot of meanings. The first part of the film is comic. It represents the burlesque feel of those silent films. But I think that the second part of the film is full of tenderness and emotion.

The film business creates a large amount of waste, and I'm not immune to waste in the business.

I'm a big collector of vinyl - I have a record room in my house - and I've always had a huge soundtrack album collection. So what I do, as I'm writing a movie, is go through all those songs, trying to find good songs for fights, or good pieces of music to layer into the film.

Well, it wasn't a holiday, but I had expected to do some sightseeing when I went to Haiti to film a series called 'True Horror' for Discovery. Before I arrived, our film crew were kidnapped and held at knifepoint.

Because of the incredible reputation I have, people find me exciting to watch on film.

So, it becomes an exercise in futility if you write something that does not express the film as the director wishes. It's still their ball game. It's their show. I think any successful composer learns how to dance around the director's impulses.

My first film, 'Like Minds,' was with Toni Colette, who was extraordinary. I mean it was basically a mini-masterclass for acting on film at a time when all you could probably see were my eyebrows bouncing up and down on screen.