Film Quotes

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.

I guess I've been fortunate in having an ongoing film career while being based in Melbourne. I'm happy to commute. A day on a plane. Come on. It's easy.

I think everybody dreamt somehow to make a film in Hollywood, you know.

I bled a lot. I got hit across the face. We couldn't film for seven days. I got hit, whacked, underwater, across the face. I finished the shot, got into the boat and blood started coming out.

I think that is what film and art and music do; they can work as a map of sorts for your feelings.

This film business, perhaps more so in America than in Europe, has always been about young sexuality. It's not true of theatre, but in America, film audiences are young. It's not an intellectual cinema in America.

I think opera has gained a kind of glamorous appeal. It's a live performance that aligns all of the arts, and when it is represented in the media, in film in particular, it is presented as something that is really a special event, whether it's a great date or something that's just hugely romantic.

One person doesn't have to shoulder all the responsibility for why a film does or doesn't do well.

If you're doing a drama that has some comedic elements you can't forget that it's primarily a very serious film that has some light relief.

When I'm promoting a film, I'm not going to get caught up in anything else, and that includes all my personal things.

No, I'm not a comic book guy. I'm pretty fascinated with the subculture though and I do think that the world of comic books is such a natural transition into film.

But so long as we can keep this crew of fantastic people together and can continue to make real breakthrough films in this category, as well as characters that stay true to what we've done in this first film, I'd be more than happy to be a part of it.

If you make a feelgood film which is complete candyfloss, where everybody is good and everything is beautiful and hunky dory, it won't appeal to the audience.

I am hoping to film another ad in the summer for Carte Noire.

But a writer's contribution is literary and a film is not literary. When you take that stuff off the page, and cast the people who are going to fit into those roles, that's what being a director is.

The idea that every time you do a film you're supposed to be tortured confuses me. I mean, guys who say, 'Oh, it's really tough, my character is really suffering' -come on. For us, even in the rotten ones we've had a good time. I don't think you have to suffer.

Ordinarily if an actor gets chosen for the lead in a film, he or she has already built up a repertoire, and everyone knows what he or she is capable of.

If you do two versions of a film, they should be identical. With the same frames and settings.

I don't think there's much point in putting me a deep, dark, heavy, emotional film because there are people who do it so much better than I do.

I'd like to do an independent film.