Films Quotes

They have some pretty tough gun laws in Japan, as they do in any other civilized country in the world, and they're not killing each other off with firearms. You have very violent films in Europe, yet it's not causing the mayhem we see in our streets routinely here.

I still like the run and gun action movies and how truly dangerous it can be to make these films.

Movies are not scripts - movies are films; they're not books, they're not the theatre.

In fact, it is amazing how much European films - Italian, French, German and English - have recovered a certain territory of the audience in their countries over the last few years.

Nothing's really changed since the Harry Potter films came along.

Some people had fathers who were bankers or farmers, my father made films, that's how I saw it. As for the movie stars, they were just around, some of them were friends, others weren't, it was all just a part of my everyday life.

I feel that I've been very fortunate in the films that I have gotten and that I've chosen to do.

My own personal taste in films as a member of the audience was not completely in line with films I was doing.

I didn't come from a background of films. I didn't even really ever watch films. The fact is, my parents weren't into that stuff, and neither was I.

Maybe there's a chance to get back to grown-up films. Anything that uses humor and dramatic values to deal with human emotions and gets down to what people are to people.

It's funny: I've been very successful and done a lot of films, and I don't really have an agent - I don't really pursue jobs, I let people come to me.

Well, TV series tie you up. You can't do films while you're doing a TV series.

Then all of a sudden, Quentin Tarantino comes along and puts a song from 40 years ago in one of his films and they've suddenly discovered you. That was a real gift that Quentin gave me.

I like to do all kinds of films.

Yes, I was correctly quoted in saying I introduced sex into films in the 20's, but it was sex in good taste and left a great deal to one's imagination.

I never, ever want to apologize for a film. If it's bad I'll say it's my fault. And that's what I can say so far in all the films that I've done, that if you don't like it, it's entirely my fault.

I'm not at all fed up with British films, but I am fed up with playing upper-class people.

I don't rehearse films as much as opera or theatre. When I began directing films I thought a long rehearsal was a good idea. Experience showed me that the best performance was often left in a rehearsal room.

I deliberately never read about films before I see them.

We don't want to be our own niche. We're filmmakers like everybody. How many years in a row are we going to talk about the fact that we make films and we are women? Enough already.

You always draw on your experiences with live audiences to know how to do comedy on films. You're working for a laugh that may or may not come six months later, but you're working in a vacuum at the time you are doing it.

I think because I've maintained my residence in New York, those kinds of films have been more accessible.

I'm looking at working with people I get on with, that respect me, that don't just see me as a piece of ass. Which I have experienced as well. I've nearly walked off very big films before, and I would, because I don't want that in my life. I want to enjoy the work I do.

There just seems to be more acceptance now of... other kinds of British films, than the picture-postcard ones.

We make the kind of movies we like to watch. I love to laugh. I love to be amazed by how beautiful it is. But I also love to be moved to tears. There's lots of heart in our films.

I've always been into films. I've been offered lots of films but they've always been these very stereotypical roles. They wanted me to play some gangster or street guy, or pimp, drug addict.

Most of my films seem to be about people bewildered by the world around them, who don't fit into it and are trying to understand it.

A lot of student directors used to pick other students to be in their graduate films, so. I ended up doing a couple of them just for fun. Eventually, I got an agent through a friend and I did some commercials; then I got Knots Landing.

The censorship is such on television in the U.S. that films like mine don't stand a chance.

I think it's a change that I did not intend at the time but it is clear that, from The Flower of My Secret on, there is a change in my films. A lot of the journalists have very generously attributed this to my growing maturity.