Films Quotes

I'm only interested in being a good actor and in being remembered for my best films, not for the way I look. But it seems inevitable in this line of work that I have to care about the way I look without getting obsessed about it.

I take more jobs when I need more money, if I'm investing in films. I take fewer when I don't. Or if something really good comes along, I usually find a way to do a good job on it in the time that I've got.

There are always at least five good films at the end of the year to get nominated, but generally speaking nowadays, it's more of the independent films that are recognized.

I don't particularly enjoy watching films in 3D because I think that a well-shot and well-projected film has a very three-dimensional quality to it, so I'm somewhat sceptical of the technology.

I'd love to do more independent films.

It's a very good time for horror. This business certainly has changed, but there's still room for serious horror films. Look at 28 Days Later, that's not a tongue-in-cheek picture.

My movies have always done pretty well in the UK - 'The Matrix' films did very well in this country and I do like the crews here and the people we're working with here.

It's become very popular in contemporary films to have the twist ending.

I don't get jobs in films by auditioning. I'm not blonde. You can't place me in movies the way you can with certain actors. It's very difficult for my agents.

Making films is no longer a way of acting, it is a way of life.

The Sand Pebbles has always been one of my favorite films, I suppose because its the most difficult film - from a physical and logistical standpoint - that I've ever made.

I mean, in my - and I'm not trying to do spilled milk, but in those days it was a little - I think it was much tougher, because you got an image, and you were in a saloon. And it was tough to come out of a saloon and to get in films, and to maintain an image, you know.

All of a sudden, there are great Japanese films, or great Italian films, or great Australian films. It's usually because there are a number of people that cross-pollinated each other.

Sometimes a director is making three films. Perhaps he is shooting a film in Madras and a film in Bombay and he can't leave Madras as some shooting has to be done, so he directs by telephone. The shooting takes place. On schedule.

I think we have the wrong notion of commercial and intellectual or artistic film. Because all films are commercial.

First of all, you look at Rocky films now, and if that isn't a cartoon series there isn't any cartoon series. I mean there's no way anybody is going to take that amount of punishment in fifteen rounds.

The thing I've come to learn is that what's great about small independent films is the intimacy and the communication that occurs when you're making them.

My family don't watch a lot of what I do. Films are a bit too arty-farty for them, certainly the ones I do!

Most of the animated films I watched, the emotions are all prepackaged like canned music, the hand actions, the sighs.

I think one of my very favorite films of all time was with Peter Sellers when he played Chauncey, the gardener. Being There.

I really liked 'Starter For Ten' because I grew up watching 1980s teen films like 'St. Elmo's Fire' and 'The Breakfast Club' and I've always wanted to play the underdog lead hero in a 1980s-inspired film.

The key fact missed most often by social scientists utilizing documentary films for data, is this: documentary films are not found or reported things; they're made things.

I was a bartender in New York and I overheard this girl saying she made $3000 doing a commercial. A kid at work told me, 'Hey, I know this director and he'd really like you!'. So I walked into this guy's office and was like 'I was thinking maybe I could make $3000' and he hired me for commercials, short films, like 15 jobs in a row.

John Huston was a superb master. He knew how to make good films. I did three things with him. One is called Independence. It plays in Philadelphia, for free. It's been playing there for 25 years.

I find the most interesting and most daring scripts tend to be for independent films.

You know, 20 years... the films of television when it started, the literature, radio in communist countries, they're clean as a whistle; there was no violence, no sex, no drugs, nothing.

I've been really fortunate to be able to do different kinds of films in different scales, different genres, different kinds of roles, and that is important to me.

I worked for Sam Peckinpah on quite a bit of action in his films, and he got excited once in a while.

With today's fast films, you can light the way your eye sees the scene. You can abuse the film and create subtleties in contrast with light and exposure, diffusion and filters. That's what makes it an art.

So, no, I'm not trying to crack into Hollywood, although I'll make films there if they're good scripts.