Film Quotes

In opera, everyone's watching from a fixed viewpoint, and that really challenges you. Lighting, the sets, stage groupings, the music-but doesn't relate too much to film.

But with my last film, Spider it was agony. The money was always disappearing, nobody got paid, it was very difficult - and it's very distracting from the process of making the movie, of course. So I think things have been getting harder and harder.

People in independent film have a passion; they're not in it for the money.

When I was nine years old I use to copy ( not trace ) the covers of the Donald Duck comics. Many years later I became a close friend of Jack Hannah, the director of the Donald Duck film shorts.

One of the elements in the film that really fascinated me was not to look at the world in bi-polar terms of us vs them or east vs west, which was a by-product of the Cold War.

People gave us everything for free. We were allowed only so much film per picture, but there was no limit to the creativity. I like to say that they let us loose like wild dogs in the streets of Paris.

I don't believe in an annual dose of film music for the sake of it being film music. If we program film music, it will be because there is a real artistic reason for doing so.

Fame should be left to the film stars.

There's an ecstasy about doing something really good on film: the composition of a shot, the drama within the shot, the texture... It's palpable.

Football is a chess game to me. If you move your pawn against my bishop, I'll counter that move to beat you. Football is the same way. I study so much film that I know exactly what teams are going to do. I love knowing what a offense is going to run and stuffing that play.

Well, I wouldn't say that this experience had any influence on my decision to do this film about Andy, because Andy was apolitical. Andy was never political.

I'm going to do an adaptation of the Italian film, Bread and Tulips. I really like that film.

I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film.

I didn't have any idea that I would be able to have a career in film.

I don't film messages. I let the post office take care of those.

Directing a film was something I was yearning to do. I always wanted to see if I had the capacity to be a good storyteller.

I had no desire to be an film actress, to always play somebody else, to be always beautiful with somebody constantly straightening out your every eyelash. It was always a big bother to me.

When a film company is in the red they come to me. Always it is the same.

Everything about filmmaking tries to distract you from that first fine rapturous vision you have of the film.

I have to tell everyone that when I finish a film and it goes out and is released, I never look at my films again. I don't like looking back. I don't even like talking about 'em! So I'm really digging back in my memory because I don't like to sit and look at my films again.

I was influenced by European movies, old Fellini, old Kurosawa - any sort of foreign film.

The difficulty with the present state of affairs is that there is no legislation on the sources of funding for the Polish film industry. There is no legislation concerning filmmaking. And, there is no legislation on television that would be beneficial to filmmaking.

And doing a film in that period, and having to really celebrate what they wore back then, how they sat and how they spoke. You know, what the etiquette was back then for a lady. All of those things are like putting on a wig and transforming yourself, which I love.

It's always interesting - how do you actually convey thought through song? We're used to the convention on stage. In film, we used to be used to it, and now sometimes it works and sometimes it doesn't. You need to be fresh and really look at the material.

You really have to soak up the culture of the people to get it right. If you're making a fiction film, it's entertainment, but you want it to be as real as possible.

Ten Days That Shook The World, by Eisenstein, I went to see it, and I was so impressed with this film, so impressed with what cinema could do.

I'd go from film to film and almost detach from one world and jump in another. I was living as these people and not having a self. I didn't know who I was. And things just get really dark.

I have a second bedroom I don't use. I'm going to start the Second Bedroom Film Festival. You're all invited.

It's becoming increasingly harder and harder; there's no such thing as independent film anymore. There aren't any, they don't exist. In the old days you could go and get a certain amount of the budget with foreign sales, now everybody wants a marketable angle.

The big difference with Juliette and the others in that film is that she goes beyond acting.