Films Quotations

I find the songs and dances in Hindi films fascinating, and I know I will do justice to them, as I am a trained dancer.

I think the point of art is to be controversial in a lot of ways. It's to cause conversations, and it's to get people excited about and talking about the things that the films are about.

Right before 'American Dreams,' I started to pursue these avenues, like short films and getting into a couple night courses to really study photography and cinematography, and the language of visual storytelling.

If I knew how to operate a DVR, you'd find episodes of 'The Tavis Smiley Show,' 'Democracy Now!' and lots of stuff from TV Land. What you can find now on my Hulu account are Korean soap operas, 'Grey's Anatomy' and films from the Criterion collection.

I'm a huge cinemaphile. My interest in filmmaking came out of experimenting with different genres, and I wanted to go back to working in a way that was more personal, which, for me, was artwork. Commercials and films are more collaborative.

After Sept. 11, there was a reticence and worrying about films that touched on war, and even more on terrorism.

I think that in France, we really admire American films, we admire their drive, we admire the modernity and ellipsism in the film and the writing and the style of acting, and we look at them perhaps in a way to see what we can steal from them, too, to make our own films more modern.

I am profoundly fascinated by cruelty, fear, horror and death. My films show my preoccupation with violence, the pathology of violence.

Cartoon Hangover has given us another place we felt we could find the most talented people around the world and give them a chance to make the films they want to make and match it up with their audience.

People talk about making art films - experimental films. I can make an art film every day of the week. Nothing to it. What's difficult is to combine a commercial film with art.

I must say that when I left 'Doctor Who,' I was filled with... not loathing, but I was incredibly annoyed because I wanted to do more television and films and the only thing that people could ever see me in was a recreation of what I had done.

When you stop to think about it, so many films today where we don't have that kind of contact are films about alienation. About alienated feelings. We are much more alienated from our colleagues nowadays.

I don't want to be embarrassed when I go to see something on the screen. I don't want to listen to foul language, watch a lot of violence or see something immoral. I prefer stories with sensitivity and family values; films that strive to lift you up to a higher place in life.

I've made a dozen films in the English language. But then, for love, for my family and friends, I returned to Europe... I annoyingly - looking back - turned down films like 007, 'For Your Eyes Only,' written specially for me.

I am married to the theater, and the films are only my mistress.

I grew up watching my dad scout games live. They played on Saturday. Sometimes they wouldn't get the films until Monday. Sunday air shipping from wherever the college team was located - Starkville, Mississippi, or wherever the film was coming from. It took two days.

I always loved movies, especially watching some of my mom's films when I was younger, like 'Out of Darkness,' where she played a schizophrenic.

I read comics and stuff. I buy a lot of comics, a lot of films and boxsets.

I think horror films in the past maybe touched on social themes having to do with whatever era in which they were made, but in the end, it's definitely an escapist form of entertainment.

I like 'The Usual Suspects'. Great film. I also like 'Scarface', films like that. Lots of gangster films. I really like watching all kinds of films, dramas, romance. I'll watch comedies. I like Al Pacino, Robert De Niro, Denzel Washington, Chris Rock, Dave Chappelle. I'd like to meet them.

I like the intimacy of independent films and I like the idea that people aren't being paid necessarily as much money as some one on a studio film.

Pirates are the very essence of profit maximising entrepreneurs described in neoclassical economics. Yet, whilst films such as 'The Pirates of the Caribbean' and 'Butch Cassidy and the Sundance Kid' have gone a long way to popularise both pirates and outlaw behaviour, the truth of the matter is that piracy is illegal, and it kills.

I'm pretty mad at horror films for ruining my childhood.

People go into a gallery, and they're afraid to express their opinions about art. No one's afraid to say, 'Keanu Reeves was bad in that movie.' We see so many films that we can tell who's faking it. But with art, we can't always tell.

I've always been interested in how people think, how they react to challenges in their lives - what makes people tick. I've also always been passionate about social issues and causes, and I wanted to make films that addressed important issues in very human terms.

I always think the most romantic books or films are the ones where the romance doesn't happen, because it makes your heart ache so much watching it.

I once met a man who was a billionaire, and I said to him: 'Are you a self-made man?' - and he turned around and said: 'No man is self-made;' and certainly, if you want to make films or get into television or even theatre, the amount of help that you need, the amount of people who need to give you a helping hand is extraordinary.

I'm lucky enough to be able to make films and so I don't need a psychiatrist. I can sort out my fears and all those things with my work. That's an enormous privilege. That's the privilege of all artists, to be able to sort out their unhappiness and their neuroses in order to create something.

I majored in screenwriting and playwriting in school - and wanted to make films as a career. But when I directed my first short in college - which was called 'Extras' - I lost thousands of dollars and made an unsatisfying and incomplete film.

I think of my films as not necessarily political but more moral. Between my father, my stepfather, and my mother - they all felt pretty passionately about the importance of standing up and doing the right thing, and none of them were suck-ups. What motivates me is usually abuse of power.

The favorite thing I like to do is nothing. I'm such an expert at doing nothing. I have a boat. I make training films for the Coast Guard. I listen to a great deal of opera.

I don't watch a great deal of television because I don't have a television, and I don't have a huge catalog of films that I've watched, either.

I love looking at the old Bond films. Maybe it's purely out of reminiscence, the nostalgic things you think about. But there were some very good films made, and I think that the public has enjoyed them, too.

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.

Hard Day's Night was one of those great films that will never happen again to anyone in their lifetime. UA were in profit before we'd even finished shooting - The advance sales on the album - the film was out before the album was out was more than it cost UA to make the film.

Where I come from, it's a little bit like England. We start from the theater, and we do films a bit on our free time. The history of making films in Scandinavia is so old, it's like the oldest. The Nordic film industry started before Hollywood in Stockholm in Copenhagen.

Acting in TV as opposed to films is really difficult. What a film gets two months to do, we get eight days to do.

My father is a silent cinema freak, so he took me to 1925 silent films that took forever, like 5-hour movies, but I've seen a lot of that stuff since I was young. And then I saw the film 'Annie,' and I just wanted to be Annie; I just wanted to be that orphan kid and wanted to sing and dance.

I've stopped going to see art films because every critic gives them four stars and say things like 'masterpiece,' 'spellbinding' and 'mesmerizing.' I mean, they're doing that with my film, but I don't want to use those blurbs. Critical reviews aren't worth too much anymore because just about every film can get one or two of them.

I was sent to boarding school - a grim place. The only good thing the headmaster did for us was every Sunday evening in the winter he would show us films in the chapel. He couldn't afford a sound projector, so we saw silent films, which you could then still rent from photographic shops.

Normally, Finns wait for a couple of years and watch Aki's films on television. But it is as though the international reputation of 'The Man Without a Past' caused them to go and see it at the cinema.

I am so happy that every generation still tunes into most of the classic and cult films I was lucky to be a part of.

Films really can change a conversation and change someone's thinking and perception, especially with people of color at the center. It rarely happens. I think it's important for both the community but also the world to see people of color in all genres, especially love stories.

I have 30 years of experience working with Leos Carax, so all the films of Leos Carax are unusual or unique. I look at them as a journey: a journey which is very personal to Leos.

I love going to theatres and seeing honest little indie films I know nothing about... being surprised by a beautiful film I had no expectations about but just got lost in. I'd like to do more well-written indies. I don't know exactly what my dream role will be yet, but it's somewhere within that realm.

All I want is the same opportunities as the filmmakers I grew up admiring. But you know, I've had lots of amazing opportunities to do the movies I wanted to do. If I could write my future, I'd want to keep making character-based films that can make use of my voice as a filmmaker.

I'll be honest - I never saw myself making a ninja movie, never entertained the idea. I think ninja films can be quite cheesy unless you do them in feudal Japan.

My grandfather made films on God, I make it on the devil, so, I wonder what he would say if he was alive. He'd probably disown me.

They put all this money into these huge films and then no one goes to see them. That sort of shows they're out of touch. Then everyone in town passes on my little movie and it does really well.

I love film, and I think it's so important for kids to be educated about films and real life subjects that films cover.

My mother was keen that I complete my graduation and never ever wanted me to be in the movies, as my father had made five films that lost money. One of the films he made was 'Agneepath,' which was hugely hyped but underwhelming at the box office, and I remember that my dad had to sell my grandmother's flat to pay off the loan.

There are very few films that work like a novel.

I love the early films of Al Pacino - 'Scarface,' 'Serpico' - and I love many science-fiction films.

I write back to every fan who writes me, which is kind of a full-time job in some regards 'cause I don't want people to wait too long . So I get up very early in the morning and try to rip through all of them. I pretty much sleep four hours a night. Then I'm constantly writing and doing short Halloween films for my web site. I'm definitely busy.

There aren't enough good roles for strong women. I wish we had more female writers. Most of the female characters you see in films today are the 'poor heartbroken girl.'

If dreams are like movies, then memories are films about ghosts.

They're pretty extreme, but I loved the two 'Human Centipede' films from Tom Six. Those movies are fun because they're well-made. They're crazy and psychotic and perverted and twisted, but they're really well-made.

I started making little films with a 16 mm camera as an undergraduate at Yale. My first job out of college was 'assistant editor' on a forgettable low budget feature.

My all-time favorites that I always go back to are films by the director John Cassavetes. The movies he made, the work he left behind, have been a big influence for my work.

There are a lot of bad films out there. There's a lot of bad architecture out there, and I think sometimes it takes a lot of time to begin to see what's really good. And I think what the test seems to be is, what really sticks with you. And what really becomes a part of your life.

Most of my films have a lot of character development and exploration, whereas in most horror movies the characters are just cardboard.

If you take the '70s with Blaxploitation pictures, there was a proliferation of black-content films and motion pictures, television, stage plays and so forth at a time when Hollywood was in trouble financially, and it was cheaper to do black films to keep the lights on until they could reestablish themselves.

I grew up in a small town, in a small community, and I would not have had access to great plays when I was a kid were it not for the films of 'Who's Afraid of Virginia Woolf?' and 'Cat on a Hot Tin Roof.'

I think the reason why a lot of the Spanish films do so well, and are so well done, is because the public really respects it and wants it.

I've seen composers work on 30 films at one go. So, eight or even 10 albums in a year is no big deal.

I think the problem I have with films is that, because there's so much hype around them, they become bigger than they should be, really. There are things that people do every day in their little workshops that they'll take to heaven with them. You've got to realise that it's not everything, making films.

Most of my films have been documentaries, but I'm also very interested in narrative filmmaking.

I've been a fan of noir films since I was in high school.

The best time to release a film is on a festive date like Divali or Eid, or at a time when there are no big films three to four weeks before or after.

My roots are on the live performing stage, so while I enjoy making films and the other things that I do, when I get on stage, I feel at home; I'm comfortable.

My dad moved to London in his early 20s and didn't really go back. So the irony is I've spent lots and lots of time in Ireland, but not with my dad. I've shot films in Belfast, where he's from. And I've shot in Dun Laoghaire. Which is great. And I've shot in Dublin.

I love gritty drama. I'm passionate about films and drama that make you think - hard-hitting, gravelly characters.

I've been writing for years and developing my own films and editing with a friend of mine in Australia.

I like Cronenberg's early work; his '80s films had all these weird, amorphous flesh objects in them.

I'm a fan of the old 'Creature Features' like 'Critters,' and 'Gremlins' and 'Tremors.' 'Jaws' is classic. It's funny that I still like those films because I remember my mom would tease me about getting a pet Critter to keep under my bed.

Among the roles I've played on stage, television and in films were politicos as diverse as Abe Lincoln, Juan Peron, Herman Goering, George Wallace and both Roosevelts.

A lot of more modern films seem to just be out for violence or sex or what have you, without relating it to what's going within human beings. But every now and then one comes along that does that, and it's a joy.

All my films have some kind of statement about something - but I have to coat it with entertainment to make it palatable. Otherwise it becomes a polemic, and people don't want to see it. If you're trying to get a message out to people, you've got to entertain them at the same time.

A novel can do something that films and TV usually can't - a glimpse inside the characters' heads. I write very tight third person point of view, so the reader is right behind the eyes of each character, seeing what they see and feeling what they feel.

My whole life has been a very communal experience; growing up in a house full of happy hippies, having dinner parties three days a week, and going to Christiania, I was constantly surrounded by people celebrating community. If you look at the films I've done, they all share that theme.

My stories are Alaska stories, and they need to be told in Alaska. Evergreen Films is located in Alaska; the company does amazing work, and I am thrilled at the prospect of working together.

My films have become bilingual. When everyone saw 'Chennai Express,' they said it was a bilingual. But I am proud that 'Chennai Express' is the highest-grossing Hindi film down South.

Our literary culture is marinated in deep traditions of the fantastic and the supernatural, and we export those rich qualities in films and books on a spectacular industrial scale.

Sometimes with films you have a freedom to be able to, Okay, we got that take so let's try another one where suddenly I'll say this, or you'll get to improv. You can't do that with stage. We have to make it new every time, and also within the structured settings.

Put me in a costume, and I'm your man. I must have one of those faces which seems to suit period drama more than modern films and TV programmes. But I'm not complaining, I love going back in time. I feel quite lucky because nobody knows who I am. I can walk about and have ordinary conversations with people.

Critics often say, 'Oh she makes films about strong women'. Wrong; I make films about complex characters and the choices they make.

It's not that there aren't people who care creatively in the world of television, but there's always a bit more time in making a movie. I always feel films are more of a creative journey.

What is it like when you see me in all these films and then you meet me? Were you intimidated?

In my opinion, the motion picture is the greatest medium of expression ever invented. It embraces all the other arts. The films that have the greatest unity, the greatest overall strength, and give the most satisfaction to the viewer, have been those in which a guiding hand was imposed in every section of the film's many divisions.

I have been very fortunate to be able to work and get the opportunity to play different roles. It's nice to do big studio pictures and then work in Glasgow on films like 'Red Road' and then dress up as a vampire or an alien. I think that's why a lot of people are actors - the versatility.

Just because one of your films does well at the box office, that doesn't make you a good person. It doesn't make you strong, smart, or secure, either.

David Fincher's work has all been incredibly well-received on Netflix, and Kevin Spacey's films have all worked on Netflix.

I want to do films and have my name mentioned next to Wes Anderson and Quentin Tarantino. I don't want my name mentioned next to other rappers at all.

Technical skill counts for nothing if it is used only to manufacture films which have little to do with humanity.

Every day I spend in Hollywood, I start to realize how many films are made with no heart and no love. They just do it for the paycheck, and I cannot imagine making a film that way.

I had no interest in history classes. In fact, I used to sleep in history classes, I used to bunk classes. But that is how students are supposed to be, no? I developed an interest in history much later. I have made a few films based on historical facts.

I'm very happy with the success of short films. In fact, for me, the short films make more money than the features.

I always knew I wanted to be in films but didn't want anyone to taunt my parents. So I excelled in studies. I was a topper in school and college, so when I decided to become a model, people said, 'Oh your daughter is modeling,' so at least my parents could say, 'Yeah but she also came first in class.'

Films are wonderful but they do fix an identity. I can't read 'Pride and Prejudice' anymore, for instance, without imaging Colin Firth as Mr. Darcy.

She is also brought to a point of zero in the beginning of the story, and I think you can say that about a lot of my films in that they are often about people who are brought to the point of zero in the beginning of the film.