Film Quotes

If there's one thing that I've done on purpose it's to take whatever job, so long as it's interesting and challenging, whether it's theatre, radio, TV or film.

I feel like I have lived all over the world since I get to go everywhere to film.

By the first week of shooting, you know exactly where your film is heading based on the psychology of your director.

The collective experience of watching a great film together in a room is a transcendent moment that will never die.

It's gotten to the point where it's big news when I don't do a horror film.

My experiences in film and theatre in the States have been much more rigorous-in England there's an environment of, Let's try this.

A lot of times, as an actor, especially a TV or film actor, you don't get a lot of interaction, or you don't get the feeling you are actually touching someone, or someone actually cares about what you do.

Knowing what I do now, I don't know if I'd ever have the balls to go to film school, with no connections and no knowledge of the business side at all.

For example, Michael Mann's film Collateral - there is certain kinds of stories that lend themselves to digital photography. Some things are very raw stories that digital photography kind of lends itself to.

I like the sensibility of Australian film a lot and the crews are fantastic. Great characters, wonderful people and no line between - I think in Hollywood they have this line between actors and crew a lot, and that just didn't exist, which I really appreciated.

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.