The Film Quotes

#1. She loses 50 pounds in the film, and goes from fairly sane to totally out of her mind. So for the first part of the film I was wearing a 40 pound fat suit, which is very, very uncomfortable. But the worst part was the neck.

Ellen Burstyn

#2. 'Noah' doesn't merely get the story wrong; like all Biblical adaptations, it's bound to do that (although some aspects of the film are out and out ridiculous). It gets the morality of the story wrong, and in the process turns God into Gaia and morality into radical deep green environmentalism.

Ben Shapiro

#3. You see the film, you might be entertained, and if it's not a great film, it loses its power very quickly. I think even simply acceptable books stay with us a lot longer.

Paul Auster

#4. I give the spectator the possibility of participating. The audience completes the film by thinking about it; those who watch must not be just consumers ingesting spoon-fed images.

Michael Haneke

#5. The film industry has been extremely welcoming to me. It's an industry which is biased to what they think is talent. If they think you can bring value to cinema, they'll support you.

Imtiaz Ali

#6. I think if you look at the themes that are presented in the film, some are inherently social, and I think that any film which deals with the family is dealing with the smallest social unit in our society - and in a sense it is a question of scope.

Atom Egoyan

#7. R means under 18 accompanied by an adult. Therefore all corporately funded films in the US must be made with the concept that those under the age of 18 are able to view the film. This means all corporately funded films in the US are made for the eyes of children.

Crispin Hellion Glover

#8. If I was not allowed to mention that I was in the film industry, I could go six months without getting a kiss.

Peter Farrelly

#9. Always, with any movie that I do, I have a book of ideas that I've heard, or seen, or whatever, and I always try to incorporate it in the film.

Adrian Lyne

#10. That's the imagination that happens in the theater. That imagination is translated in film by the film magicians and all the technology.

Ian McKellen

#11. The film industry needs to find a way to bring audiences to movie theaters. It's more of a technical trick than a revolution.

Michel Ocelot

#12. You have to be ready to go through peaks and valleys along the way. Be ready to sacrifice some of the things in life that are considered normal for most people for the first while. And understand the business of the film industry, because studying the art and your craft alone isn't enough anymore.

Kyle Cassie

#13. A film like 'Good Night And Good Luck,' you make that for $7 million because you know it's a black-and-white film, and it's not an easy sell. If you make it for $7 million, then everybody can have a chance to make a little bit of money, and you get to make the film you want to make.

Grant Heslov

#14. I want to be surprised and entertained by a movie, so that's what we're trying to do for the audience. Obviously, we also have to sell the film.

Christopher Nolan

#15. I have made all my films for my children with the exception of my first film because my oldest daughter wasn't born when I was making the film about the Brooklyn Bridge.

Ken Burns

#16. A problem was the lack of cooperation of the Afghan community itself. The women, though living in Iran, were under cover and not willing to participate in the film, and none of the ethnic groups were willing to work together or be together.

Mohsen Makhmalbaf

#17. 006 was such an interesting character and the film really explored his friendship with Bond and how it all went wrong, so it was a very personal journey for both characters.

Sean Bean

#18. Maybe it's a little ambitious of me to presume that no matter how big the film is, that I can always go down to the shop to buy a pint of milk.

Tom Hardy

#19. 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.

Conrad Hall

#20. I always expose the apparatus. I show how the film was made. I acknowledge the filmmaker and the filmmaking.

David Shapiro

#21. When you sit and watch the film with an audience, the focus groups and the cards and all of that is the less what you're worrying about. When you watch a film with an audience you see what is working and what's not working.

Christopher McQuarrie

#22. Although we may deplore the film's scatological language, sexual explicitness and gratuitous gore as seemingly designed only to shock, in the manner of an angry, attention-craving child, we must remember that this movie was actually made by an angry, attention-craving child.

Mark Leyner

#23. I hope the film will help mothers and fathers to be aware that 15 is a very vulnerable age.

Ellen Muth

#24. It's important for me to not historicize. I work to diffuse the issue of identity and to intensify identification. You have to lose your authority in the making of a film to achieve this. The film is about me being absolutely dislocated. I focus on the very personal to arrive at the very political.

Elia Suleiman

#25. I think that the film Clueless was very deep. I think it was deep in the way that it was very light. I think lightness has to come from a very deep place if it's true lightness.

Alicia Silverstone

#26. I was at the University of Miami, and I still had, like, a semester or so left. And through the film school, I found out that Al Gore was launching a new TV network; they were looking for passionate young storytellers to transform television, which was, like, ambiguous but magnificent-sounding.

Jason Silva

#27. If you invent the Mini Cooper, pour all your energy and passion into it and it gets made, you should be on a roll. In the film industry you have to start again the next day.

Estelle Morris

#28. A film is one small voice among other large ones. The film is a tiny part of the discourse. You do what you can but under no illusions of what a film can do.

Ken Loach

#29. I think everybody works from a defensive position, for the most part, in the film industry.

Will Oldham

#30. The deal is that you can do it, you don't really owe me anything, but at the end of it, I own the film. Then I can actually go out and reprint or not reprint if it I want.

Todd McFarlane

#31. It was one of the marvellous feelings of the film, having the music going in your head while doing scenes.

Dinah Sheridan

#32. It's a unique experience when you're doing an independent film where you have one person who puts up all the funds to make the film.

Forest Whitaker

#33. In the film business, it's basically honor among thieves.

Abel Ferrara

#34. In consequence of the film of familiarity and selfish solicitude, we have eyes yet see not, ears that hear not, and hearts that neither feel nor understand.

Samuel Taylor Coleridge

#35. We live in a youth-obsessed, aesthetically obsessed culture. That is no more evident than in the film industry.

Ben Barnes

#36. I think I've always been kept grounded. I've never been too involved with the movie business apart from just doing the film. I've never moved out to LA like a lot of people or been too drawn in by that.

Freddie Highmore

#37. The practical value of history is to throw the film of the past through the material projector of the present on to the screen of the future.

B.H. Liddell Hart

#38. Elaine and I got married in summer 1979, we went on our honeymoon and came back for the premiere of 'Scum.' All of sudden my face was on billboards in Leicester Square and people were crowding outside the cinema, going mad about the film. It was a complete shock.

Ray Winstone

#39. I had the luxury of working on the script with Andrew [Dominik] for a good year before the film started, so I was already intimate with the story [of The Assassination of Jesse James] and felt quite prepared walking into it.

Brad Pitt

#40. The film industry needs to confront the physical footprint of the way films get made.

Edward Norton

#41. I think comics can be the basis for great films, but I think the focus of such a project should be on making the film as good as possible, not on painstakingly replicating the comic.

Adrian Tomine

#42. I never did theater. I was a theater major at USC my first year because I didn't get into the film school. I was biding my time, hoping to be accepted to film school, and I ended up transferring to UCLA my sophomore year.

Darren Star

#43. 15 years later, it's all the TV stars with the film deals, whether it's the cast of Friends or That '70s Show now with Ashton and other people doing stuff.

Anthony Michael Hall

#44. Now I don't know if you realize it, but the film industry's a small world. It's like living in a tenement at one end of a back alley. Not only do you see everybody's dirty laundry, but once rumors start, you can't stop 'em.

Haruki Murakami

#45. It was actually Peter's idea that I should make the film. He called me in the very beginning, and I hadn't even read the book. So I read it and I liked it very much and I knew I'd certainly like to do it.

Bille August

#46. I never thought I'd get [a 'Pitch Perfect 2'] audition because the film was just so massive.

Chrissie Fit

#47. The film is better for me than the sitcom. But the sitcom is like much more practical approach, if I may say that, because of the cost. Everything costs money, a lot of people don't realize that.

Tommy Wiseau

#48. Jake Green isn't just Jake Green. Jake represents all of us. The colour green is the central column of the spectrum and the name Jake has all sorts of numerical values. All things come back to him within the film's world of cons and games.

Guy Ritchie

#49. I was very fortunate in having David Fincher, the director come to me. Now I've seen the finished product, I feel that every bit of the nine months we spent on the film was worth it.

Dwight Yoakam

#50. There's only one way to prep, so far as I know. You have your script, you hire the people you want, you find your locations and your setups, everybody shows up and you shoot the film.

William Monahan

#51. I never look at the size of the film when I'm looking for a part.

Eric Bana

#52. We had the guys from X Men 2 do the cameras. They had a 360 camera that would go from one car, up in the air and over to another car in a continuous shot while the film was still rolling, going 90 mph.

Jimmy Fallon

#53. It's hard to get yourself into a position where someone will trust you to direct a film anyway, whatever sex you are. Certainly in England, the film set is a very male preserve. There's a lot of very rough looking men pushing equipment around that don't want the gaffer to be a girl.

Colin Firth

#54. I've seen people who stink, but the film editor shows them just where they didn't stink. But if you're empty and manipulative on stage, it's clear.

D. B. Sweeney

#55. It's a surreal thing because you are there and made up and dressed up as if you're making the film. You do the scene, which is going to be in the film, and I met him [Daniel Craig] and I'm working with the director, and so it is different to just a normal audition.

Gemma Arterton

#56. There were IBM logos designed for the film, and there were IBM design consultants working with Kubrick on the layout of the controls and computer screens.

Douglas Trumbull

#57. When I pick a role, one of the things that I aspire to is that somebody's parent will come up to me after the film has come out and say, "My daughter idealizes that character. You're her hero." That's what I aim for. We're in the business of making heroes.

Evangeline Lilly

#58. If you don't generate tension in the film to begin with ... you can't really make a purse out of a sow's ear, you know.

Dennis Weaver

#59. If the film is nominated for awards, and even if it wins them, it doesn't make the movie any better, just as if it's ignored that doesn't make the movie any worse.

Quentin Tarantino

#60. I spent several years in the film finance business, but I returned to what I loved most about the industry - actual filmmaking, producing, writing and directing.

Gabriel Campisi

#61. Hollywood, to hear some writers tell it, is the place where they take an author's steak tartare and make cheeseburger out of it. Upon seeing the film, they say, the author promptly cuts his throat, bleeding to death in a pool of money.

Fletcher Knebel

#62. Only after awhile. After it came out and people began to engage in discussions about the social reflections of the film that I realized it had an importance I hadn't thought of.

Rod Steiger

#63. When you make a film, it's a bet. You don't know how the film is going to be, anyway.

Juliette Binoche

#64. We were in another planet and we were reaching for something closer to a fable. It was something fabulous. I started looking at the film as if it happened in another planet and that allowed me even more freedom.

Alex Abreu

#65. The more sincere I could be, the better it would be for the film.

Charlotte Gainsbourg

#66. The women executives in the film industry have the power to say, 'No,' but few of them have the power to say, 'Yes.'

Melanie Mayron

#67. I hope each day to have done 10 seconds of good work that they can use in the film. And I'm always afraid I didn't get those 10 seconds.

Louis Garrel

#68. But John Landis wrote a good relationship which is really what the film's about. A very straightforward young woman who's very sure of herself and she meets a young man who needs some taking care of.

Jenny Agutter

#69. Because when the film was first mooted, the Beatles didn't like the idea at all. In fact they wouldn't have any part in it. And when Brian had committed them, it was part of a deal he did with United Artists, I think.

George Martin

#70. For me the stunts are so cool, they're one of my favourite things when we're doing the film.

Rupert Grint

#71. But a year before that, I was starting to drink beer on the set of the film Lucas (1986).

Corey Haim

#72. I'm so critical of myself. I'm actually really, really proud of the film. It's really cool to see a movie at Sundance because everybody is so supportive.

Giovanni Ribisi

#73. Back when you were doing plays like 'The Miracle Worker,' you had 20, 25 people in the cast. When you go to make the film, that's not such a stretch. But when you're doing plays like 'Proof,' it's just five people or something in the thing, and it gets to be a really difficult re-conception.

John Patrick Shanley

#74. It was reported that Guy Ritchie has cast his wife Madonna in a small walk-on role in his new movie, Revolver. Madonna will play the part of the woman who ruins the film.

Tina Fey

#75. It's been 50 years since I was on the roof of my parents' house shooting Hag in a Black Leather Jacket when I didn't even know there was such a thing as editing. I thought you just shot the film and showed it. That's exactly what I did. I'm not that different 50 years later.

John Waters

#76. When you're working in the [film] industry and you're working with people who are well known and are so regarded, you do just pick up on things. Seeing the way that people hold themselves and compose themselves before a scene - it's inspirational.

Asa Butterfield

#77. I can multitask very well. But I know exactly when to block off anything coming in from the outside and just stay focused on the film.

Arnold Schwarzenegger

#78. On the film where I didn't get along with the director, I just decided to not speak to him.

Elizabeth Taylor

#79. You always gotta continue to hunger. If you're gonna continue in any kind of industry whether music or the film industry or athletics, that drive to become better is what will eventually make you into that superstar everybody else will see.

Ryan Guzman

#80. But with the right kind of coaching and determination you can accomplish anything and the biggest accomplishment that I feel I got from the film was overcoming that fear.

Reese Witherspoon

#81. But the film in your memory, your cannot walk out so easily.Wherever you go it is always playing

Chris Cleave

#82. Film is more than the twentieth-century art. It's another part of the twentieth-century mind. It's the world seen from inside. We've come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself.

Don DeLillo

#83. Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.

Spike Lee

#84. In the film world, we can all be heroes. In the real world, where heroism can cost you your life or the life of the ones you love, people aren't so willing to make those sacrifices. When they do, they are set apart from the rest of us.

John Rhys-Davies

#85. When you're actually making the film, you're constantly battling to maintain its integrity.

Ted Kotcheff

#86. 'The Butler' has virtually nothing in common with its source material, the life of White House butler Gene Allen, except for the fact that the main character of the film and Allen were both black butlers in the White House.

Ben Shapiro

#87. When the American documentary filmmaker Donn Alan Pennebaker wanted to do a film on Dylan, Dylan asked him what he'd already done, and Pennebaker answered, Nothing except shots in the street. Dylan asked to see them, and he agreed to let him do the film.

Raymond Depardon

#88. Actors say they do their own stunts for the integrity of the film but I did them because they looked like a lot of fun.

Steve Coogan

#89. The film I like the best is always the one I'm working on now or next.

Ewan McGregor

#90. Any director, if you really ask them, will tell you that the toughest thing to do is like a dinner table or a dialogue scene, because you need to keep that electricity maintained throughout the course of the film.

Gary Ross

#91. I'd always tried not to worry about the size of the role or the size of the film.

Kevin Bacon

#92. In my real life I live in the countryside, I walk a lot, I shoot clay pigeons, I don't get involved in the film business or anything, and then in my cinematic life, I think I am drawn to the dark side.

Nick Love

#93. Memory has a spottiness, as if the film was sprinkled with developer instead of immersed in it.

John Updike

#94. No critic writing about a film could say more than the film itself, although they do their best to make us think the oppposite.

Federico Fellini

#95. With a DVD, you want something you can own, you can watch, you can come to grips with and you can explore. It's something larger than the film, when it's going out to a fan base.

David Slade

#96. I asked the producers when I was doing 'Y Tu Mama Tambien' if they could give me a VHS recording of the film that I could show to my family, because in Mexico and Latin America, when you do a film, you don't expect anybody to see it, especially not in the cinema.

Gael Garcia Bernal

#97. I found from working on the film that I am a bigot, at times. And that I am also a coward, at times.

Terrence Howard

#98. No I didn't audition, I didn't even know David Lynch till the week before I started the film.

Richard Farnsworth

#99. The director is the only person on the set who has seen the film. Your job as a director is to show up every day and know where everything will fit into the film.

Paul Feig

#100. No wonder the film industry started in the desert in California where, like all desert dwellers, they dream their buildings, rather than design them.

Arthur Erickson