Film Quotes

Let's say music is needed for only 43 seconds of film. You have to score it so it is an entity, so it won't bother anyone when it ends so quickly. Or if a song runs 2 minutes and 45 seconds, but the titles run a minute longer, you have to arrange that song so it doesn't get repetitious.

Then I realized my early work did have something special that audiences adored apart from what I humbly thought about them. They occupy a distinguished niche in Italian film history and probably always will.

Because I could take this as an opportunity to create something that I pretty much guarantee nobody else was going to create in film.

A feature film is twenty-four lies per second.

He's a guy's guy, so it pretty much became like the impressions - don't imitate Sean Connery's voice, and things like that. We were all kind of doing it towards the end of the film, anyway, and he was cool with it.

I went back to film work after Dobie. I went back to film work after Dobie.

I get really excited every time there's a female character who is really strong because a lot of females in film are really soft.

When you make a film like this, you must have the highest expectations of your audience. Having worked in situations where we have the lowest expectations of our audience.

I'll generally write out every scene that's in the film on a couple of pieces of paper, just with a little one-line. And then I can scan it a bit and go, 'This first third of the film, generally, I'm kind of calm.' Then I might do something on one piece of paper that just relates to the energy of the character.

If one horror film hits, everyone says, 'Let's go make a horror film.' It's the genre that never dies.

When on the set of a film, you have to play natural for entire scenes in a very unnatural environment. You have to express emotions and interact with other actors and also use your voice.

The business side of film has goofed up so many things, but even that's changing. It happened to the music industry and now it's happening to the film studios. It's crazy what's going on. But artists should have control of their work; especially if, as I always say, you never turn down a good idea and never take a bad idea.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

It's very tempting to over-eat all the bad things when you're on a film set.

Film in the 20th century, it's the American art form, like jazz.

No film critic's going to say it, but 'Madagascar 3' is better than 'The Artist.'

I feel the film companies should pay for proper advertising to see that the movie will sell, instead of putting it on our backs.

For me, the work begins with a rough cut of the film. I can't do much with the script. I've tried to write music to a script prior to seeing the film, but I've found it turns out to be a waste of time.

I've never been a part of a film before that offers such a platform into real issues, that raises social awareness and has the potential to change things.

I want to do feature films. I am flying to Malaysia to be in another feature film. We will be filming that in Malaysia, the Phillipines, and back in California.

I think film likes me better than the theatre does for some reason.

I don't want people to sit there and objectively watch the film. I want them to experience it as something that's under their skin, so you try to make the films really tactile.

I love when you go to a horror film with real horror fans and everybody's there watching, getting involved and screaming. That's when it's most alive and exciting for me.

Doing that, then doing a lot of theater, which I love. Doing guest stars, did two independent films that are going around to all these festivals. Both of them are going to be at the Lake Tahoe Film Festival.

The crossover wasn't happening. TV actors were TV actors, and film and stage actors were a whole different thing. And now there's just a lot of crossover.

Billy Wilder is really is a heavy influence on Bound. We felt that film noir was a genre where you could create a really contained story. We wanted to be on a set as much as we could to get the kind of style level we were looking for.

The film is about Joe discovering who his mother and father are and his relationship with them, and the identity crisis he goes through once he finds out who his parents are.

Doing a piece on film is completely different from doing it onstage.

Being at the centre of a film is a burden one takes on with innocence the first time. Thereafter, you take it on with trepidation.

The 1980s really ended for me in 1992 with the film Kika.