The Film Quotes

#1. 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

#2. When I was given the opportunity to direct 'Senna,' I decided the film had to work for audiences who disliked sport or had never seen a Formula One race in their lives. It had to thrill and emotionally engage people who had never heard of Ayrton Senna.

Asif Kapadia

#3. I'm a filmmaker; I want to make films. I don't want to sit in a hotel room waiting to make films, and I can control my thing in Denmark; I can make the film I want to make ... of course, I have to write a good script, all that, but if I do my job, it will happen.

Tobias Lindholm

#4. Going through this musical experience really helped us to understand the core of the film.

Isabelle Huppert

#5. Salman Khan did not help me get movie offers. What rubbish! Will any producer take a risk of millions of rupees at the instance of any person? Everyone knows that the film industry is highly competitive, and one gets a job on one's talent only and not on any recommendation.

Katrina Kaif

#6. For me the most moving moment came when I first started working on 2001. I was already in awe of him, and he had very much already become Stanley Kubrick by the time the film started.

Keir Dullea

#7. I had thirty weeks of prep on 'Captain America.' I have a small team of qualified, supportive, creative producers who are actually helping me achieve my vision of the film. I had a dream cast headed by Chris Evans. I had the best designers, artists, sculptors, craftspeople.

Joe Johnston

#8. I think everything should have an end, an end of the brutal stuff happening home. ENd for the song, end of the film, end of the evil... This how it must go and it will go, if you think that evil has gone it's still here. If you believe in god, that's means that you believe this evil.

Deyth Banger

#9. I am disabled, so I can't travel, and I have not been to any development meetings, but Gary and the others affiliated with the film keep me updated on everything.

Laura Hillenbrand

#10. '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

#11. 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

#12. 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

#13. 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

#14. 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

#15. 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

#16. 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

#17. 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

#18. 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

#19. 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

#20. 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

#21. 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

#22. 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

#23. 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

#24. 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

#25. 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

#26. 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

#27. 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

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

David Shapiro

#29. 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

#30. 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

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

Ellen Muth

#32. 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

#33. 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

#34. 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

#35. 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

#36. 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

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

Will Oldham

#38. 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

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

Dinah Sheridan

#40. 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

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

Abel Ferrara

#42. 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

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

Ben Barnes

#44. 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

#45. 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

#46. 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

#47. 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

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

Edward Norton

#49. 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

#50. 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

#51. 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

#52. 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

#53. 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

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

Chrissie Fit

#55. 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

#56. 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

#57. 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

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

Elizabeth Taylor

#59. 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

#60. 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

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

Chris Cleave

#62. 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

#63. 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

#64. 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

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

Ted Kotcheff

#66. '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

#67. 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

#68. 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

#69. I don't want the national award ... I seriously do not need any such thing. I would only want the audience to go and watch the film once and that will be more than enough for me. Once everybody should see the movie and say it is a good watch.

Kareena Kapoor

#70. All I can say is that with 'The Golden Compass,' I didn't get to make the movie I had planned to make. When I look at the film, at the casting and certain scenes, I'm very happy. As for the final product, I can't vouch for that.

Chris Weitz

#71. [Liv Corfixen] very much part of my life in that she's everything in my life and we found a way to use each other much more on a creative level as well. She was kind of the idea for this movie so I wanted to acknowledge that. She gave me the original idea to make the film.

Nicolas Winding Refn

#72. When I see films made from books, I make a huge effort not to remember the book. It's important to see the film as a film.

Kazuo Ishiguro

#73. Who do you think would win in a fight? Lucien," he indicated their Pack Leader with a tild of his head, "or Lucian?" her referred to the 'lycan' leader of the film franchise.

Samantha Young

#74. One must go for a film with an open mind; a film best impacts you when your mind is a blank page to the film.

Anurag Kashyap

#75. When the script was written, it was sent to me with asterisks marking where he felt a song would be appropriate. Before the film was shot, the score was written. I made a demo of it, so they lived with the music as they were making the film.

Alan Price

#76. I got the boot once from Stanley Donen. The film was called The Little Prince.

Julie Harris

#77. My other creative outlet is knitting; aside from being fun, it is my antidote to the film business: I have full creative control, there is no development process, and I can self-finance.

Linda Goldstein Knowlton

#78. I was truly ignorant about art before the film.

Claire Forlani

#79. This is indeed not only relevant to Documentary but is evident is most type of film making. The film often mirrors the experience, understanding and politics of the director.

Ben Edwards

#80. A lot of guys try to mingle with me because of who I am. If I encounter a guy with a clean heart, I will go by my instincts. I guess my man won't be from the film industry.

Kareena Kapoor Khan

#81. As soon as you're at the higher levels of budgeting, you've got to get the film made, and the only way to support the film is to have actors who can support the budget.

Ridley Scott

#82. 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

#83. 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

#84. 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

#85. 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

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

Eric Bana

#87. 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

#88. 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

#89. 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

#90. 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

#91. 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

#92. 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

#93. 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

#94. 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

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

Kevin Bacon

#96. 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

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

John Updike

#98. 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

#99. 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

#100. 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