In this post, you will find great Film Quotes from famous people, such as Ridley Scott, Oliver Stone, Daniel Day-Lewis, David Attenborough, Anupama Parameswaran. You can learn and implement many lessons from these quotes.
I think it doesn’t matter, the color of yourskin; it doesn’t matter where you are from. It matters how you relate to people, how you connect with people, and the open-mindedness with which you approach the subject. That’s to me what matters when you are making a film, not who you are or where you are from.
I’m doing a film called ‘Black Mass’ where I play James Bulger. The reason to play him is obvious to me. He’s a fascinating character. It’s not like anything I’ve done before on that level. I’m very excited to slide into that skin for a little bit.
It gave me a lot of pleasure and pride that 90 percent of the crew for ‘Monsoon Wedding,’ and most of my film, are women. We get the work done, you know, much lesser play of ego… And I really believe in harmony, I believe in working in a spirit of egolessness and that the film is bigger than all of us.
Having had that experience… I think, what modern culture wants to see is the relationship with the woman. I don’t think you can tell a story on film nowadays where the woman simply is there for the man when he decides to settle down.
With ‘Louis Wain,’ it’s a very eccentric film and we had an incredible time. I never thought that me, Sharon Rooney, Andrea Riseborough and Aimee Lou Wood would get to be in the same family. None of us are cat people though, which when you have 20 cats on set is hilarious.
An important part of my story is that I didn’t walk out of Planned Parenthood immediately after witnessing the ultrasound-guided abortion. It is made to appear that way in the film, ‘Unplanned,’ because they are trying to fit 10 years of my life into an hour-and-a-half-long movie.
I keep every script from every film that I ever made because it’s like a workbook of that time in my life.
Look at the films of Walt Disney: ‘Snow White‘ came out in February 1938, and I can’t think of another film from that year that’s watched as much. The same is true of ‘Bambi,’ ‘Dumbo’… even, frankly, ‘Toy Story,’ which is probably watched more than any other movie of 1995.
Reading is a heady thing. You can be into the action of someone’s thoughts and take a whole trip down someone’s ruminations while seconds tick by in the world that they’re in, but you can’t really do that in film.
I don’t want to make a comfortable film. I’m not interested in that. I’m not interested in answering people’s questions; I’m interested in posing questions. I’m interested in sparking a conversation between two people about what something means. That’s enough for me, as a writer and as a director.
One of the best things – and something I’m grateful for every time I walk onto a film set – is my six and a half years on Dawson’s Creek and the experience it afforded me in how to get comfortable with the camera.
I don’t plan or schedule my career thinking first I will play a common man, then a police officer, then a superhero. I love good scripts, and I don’t care if I play the main part in it or not. I want to be a part of good films. That’s my dream… ‘Jacobinte Swargarajyam’ was that film for me.
‘The Lobster,’ at some point, was my most accessible film. Then I made ‘The Killing of a SacredDeer,’ which turned out to be not as accessible as ‘The Lobster.’ It was the film I wanted to make and the story I wanted to tell.
A naughty part of me thinks, how come Hugh Laurie, Stephen Fry and Tim McInnerny have all done really good parts in a film, whereas I’ve only ever done bits and bobs? Before I die, wouldn’t it be nice to be the scheming old man in a movie?
There was one film that I really wanted. This was a long time ago; it was a film called ‘Fracture.’ Ryan Gosling ended up doing it with Anthony Hopkins. It wasn’t a giant box-office success, but I really enjoyed the script, and I enjoyed the character. I got pretty close and was kind of disappointed it didn’t go my way.
I’d like to do a piece of Shakespeare. Any upcoming Shakespeare film. Just a bit to say I did a classic.
I am not in every picture I post, and my social media is not only for film promotions. I don’t feel comfortable with that. Yes, I’ll post something promotional now and then, but rest of the time, it is like any other social mediaaccount.
I’ve heard that Alfred Hitchcocksaid that by the time he was ready to shoot a film, he didn’t even want to do it any more because he’d already had all of the fun of working it out. It’s the same thing with these Frank comics.
The film is made in the editing room. The shooting of the film is about shopping, almost. It’s like going to get all the ingredients together, and you’ve got to make sure before you leave the store that you got all the ingredients. And then you take those ingredients and you can make a good cake – or not.
My ambition was always to bag a lead role in a film, and hence, I refrained from doing any ads, TV serials, music videos, as I felt that a fresh face always works much better. It was a gamble, and I took that gamble telling myself that I will give it my all to bag a lead role.
I wanted to play a motheragain. I thought it would be interesting to play the mother of an older child. And it was also the kind of part I’ve been looking for my whole career, actually, in film. You know, just to play a femme fatale who’s very smart, and wicked.
On a film set everyone is very cool. Well, blase really.
You have to understand that you are not making the film for yourself; you’re making it for the audience. If I am asking my audiences to buy tickets, I owe them the worth of their money, and I owe them entertainment.
For me, I can’t watch violence when it’s too grotesque, and it’s just like, that’s revolting to watch. I don’t enjoy it. But when it’s a Tarantino film, I’m lining up outside the door to see it, and I’m expecting to see something really crazy, a lot of blood, and for it to be funny.
In voiceover, all you have to worry about is your voice and practicing with your voice and then being able to understand what the situation and whatnot is happening. And you have endless amounts of film to perfect the character.
On a film set, there are runners who are 19, it’s their first job, but to me they’re as important as anybody else because if they don’t do their job then nobody else can. So I don’t think anybody should be treated disrespectfully or as if they’re of a lowerstatus.
A good project but a poor director will always make a mediocre film, but an average script and good director can make a good film, as he will put in everything to make the film look good.
One scene is enough for a good actor to leave his mark in any film.
If I dream that I’m directing, it’s not a film, it’s like a commercial for cottoncandy, and I’ve got four feet of cotton candy all around me that I’ve got to break through, like a brick wall or a fortress.
I’ve been on the board of UCLA Film and TV School, and I went to UCLA. I realized that the same movie theater that was there when I went to school, 30 years later is the same movie theater in the same condition. There was an opportunity to refurbish an existing room, and I jumped at the opportunity.
I have, indeed, lived most of my life overseas, but I’ve returnedrepeatedly to work in film, special television productions, and the New York theater. There have also been tributes and similaroccasions that have called me back to Hollywood. I’ve returned so often, I almost feel that I’ve never left.
Older people say, ‘Oh I loved you in ‘Sense and Sensibility,’ and that’s the only film they want to talk about. Equally, there are people who only want to talk about ‘Galaxy Quest.’ And there’s a whole bunch of teenagers who only want to talk about ‘Dogma.’
I loved the material when I first read it, and the experience of making the film was a great one. So when we came around to complete the trilogy, I just signed on board without even reading the scripts because the experience of the first film was so good.
I’ll say initially acting was my first love, and that’s what I pursued. But then, so far as even my first day on a film set, and just watching how things were set up, I just said, ‘I think I want to be in charge.’ I am very much type-A. I am a bit of a control freak.
I’m so bad at dancing that I’ve actually been in two movies where the director of the film saw me dancing and thought it was so funny that in one movie they had me do it as the mental dancing of a real simple person. The other one was, like, to-be-laughed-at dancing. That’s how bad my dancing is.
A film is sort of binary – it either works or it doesn’t work. It has nothing to do with how good a job you do. If you bring it up to an adequate level where the audience goes with the movie, then it works, that is all.
There was a time when I really wanted to do films, but they didn’t come my way. I would come close and the next day suddenly I’d realise that I am not a part of the film anymore. So that’s how television happened.
In the last ten years of watching films I have found that some of the foreign films I saw affected me most. One American film that stands out for me for its workmanship and artistry is ‘Ratatouille.’ It was an astonishingeffort in filmmaking.
I’ve always found as an actress that the best thing to do in film or TV or theater is just to lose yourself in it. Think of the story, the character, the worlds we’re in, and forgeteverything else.
The script is a blueprint for the film – there are very few bad scripts that make good movies. If you really like the character and understand the utility it serves within the movie, that’s a part of my process.
My first film was a movie shot in 1974. I was 18 on that movie set. It was called ‘Big Bad Mama.’ I turned 19 on the next movie I worked on, which was a black ‘Blazing Saddles.’ I worked in the art department. It was called ‘Darktown Strutters.’
I hope it’s always going to be a mix between theatre, film and radio. I’ve been very lucky living in London that you can do all that – in New York and L.A., there’s more of a structure for film in L.A. and theatre in New York. In London, our industry is smaller, but it produces brilliant work all in one place.
Anyone who has ever been privileged to direct a film also knows that, although it can be like trying to write ‘War and Peace’ in a bumper car in an amusementpark, when you finally get it right, there are not many joys in life that can equal the feeling.
Essentially, it is the director who is the creative head of a film. The final authority on all decisions lies with the director. That is how it should be. And then other teammembers can give their creative inputs.
Before I became a film major, I was very heavily into social science, I had done a lot of sociology, anthropology, and I was playing in what I call social psychology, which is sort of an offshoot of anthropology/sociology – looking at a culture as a living organism, why it does what it does.
I did Broadway shows. And I started realizing that this is actually how I’m going to make my living. So maybe I should try to do television and film and make a better living and get an occasional residual check so I can pay a mortgagesomeday.
If we didn’t want to upsetanyone, we would make films about sewing, but even that could be dangerous. But I think finally, in a film, it is how the balance is and the feelings are. But I think there has to be those contrasts and strong things within a film for the total experience.
‘Pride’ is my first film with a happy ending. Before, I naively thought they were a cop-out, but now I’ve come to believe that happy endings and wish fulfilment are an incredibly important part of our cultural life.
There’s a great deal of mystery in film editing, and that’s because you’re not supposed to see a lot of it. You’re supposed to feel that a film has pace and rhythm and drama, but you’re not necessarily supposed to be worried about how that was accomplished.
‘She’s Gotta Have It’ and ‘School Daze,’ I really didn’t know what I was doing. And the biggest indicator of that was the acting. ‘Do the Right Thing‘ was like the first film where I really felt comfortable working with actors.
I think it’s really difficult to justify converting a film that wasn’t shot in 3-D into 3-D. I really do believe, as does James Cameron and all the people who are actually pro-3-D, that you have to go out and shoot it that way. You have nothing but compromise if you don’t.
I’ve never made a film that I didn’t believe in, you know? However the picture turns out, I’ve always given everything to it. That’s kind of how I approach life. I can’t help it. There’s no part-way with me on anything in any area of my life.
When kids like StevenSpielberg were eight and nine and 10, they had little cameras, and that’s all they wanted to do. When I was 10, I was in my atticpretending to host my own variety show. Spielberg wasn’t. That’s why he’s a film director, and I’m doing what I’m doing.
If you’re sitting in the audience, you probably can’t see the preparation and work that goes into creating a great scene or a great part, but I can assure you that a good film depends on lot of different thingsfalling perfectly into place.
Sometimes you don’t want to get married too much to a lot of rehearsing, I feel, when it comes to film, because there’s so many technicalities. So if I’m in my head, I’ve gotten settled on something, I’m gonna have to change it if I get there and something was set that’s completely different.
They’re all based on factual characters. Well, a good amount of them. That’s why I was attracted to this genre anyways, because these characters are so large and cartoonish, they’re like caricatures, I just felt that there had to be a film made about them.
Colombia is so different to what I know, and every aspect of the country is different to England, and I loved it. I loved the culture and the food, and the coffee was amazing. The place that we were was stunning, and it really was quite an amazing experience to film out there.
There are certainly laws and elements that make a film more accessible to mainstream audiences. If you’ve got Tom Cruise as a strongman, I’m sure it would have larger audiences, but it wouldn’t have the same substance.
Football is a chess game to me. If you move your pawn against my bishop, I’ll counter that move to beat you. Football is the same way. I study so much film that I know exactly whatteams are going to do. I love knowing what a offense is going to run and stuffing that play.
The thing I do miss about the way some sequels were in the past was that each film felt like its own unique, complete tone. Now, sequels are tonal facsimiles of the ones before them, like a television series, whereas back in the past sequels would often be radically different from the ones before.
‘Deep Red’ (1975) is my favorite movie. The character David Hemmings plays is very much based on my own personality. It was a very strong film, very brutal, and of course the censors were upset. It was cut by almost an hour in some countries.
I feel I can rush the passer well. I feel like I can play the run even better than what I did starting off to when I got in my senior year as far as making plays in the backfield and just being able to break down film a lot better.
I am just pitifully nostalgic. I can’t help but roll my eyes at myself frequently. I mean, I still shoot black-and-white film. And I am constantly reminiscing about the ‘good old days.’ I’m 28 years old. There haven’t even been that many ‘good old days.’ But still, I love to look back.
I did some glamorous roles and even wore a bikini in the Telugu film ‘Drona,’ but the audience was aghast. Some said, ‘Please don’t ever wear a bikini again!’
You can’t make anything without making mistakes, do you know what I mean? Robert De Niro’s in the ‘Rocky and Bullwinkle’ film. There’s a lot of far greater people than me who have made mistakes in their careers… There’s loads of people who have made stuff that isn’t good and never get asked about it.
There was an interesting article in Los Angeles Magazine about women directors. A woman director makes one bad independent film and her career is over. Guys tend to get an opportunity to learn from their mistakes.
As a fan, when I hear that a film is going to be turned into a television show, I do go to that place immediately of, ‘Is it going to be any good? Is it going to be a waste of time? Why are they doing it?’ It’s ’12 Monkeys,’ and ’12 Monkeys’ is awesome, so I wanted to be a part of it and work on it.
I saw ‘Joy Luck Club‘ when it came out, so that was early mid-’90s, and I remember seeing it with my long-time collaborator, Mina Shum. We’d just done ‘Double Happiness,’ and we saw this movie, and we were weeping. Like, shuddering weeping. Weeping more than really the film deserved.
They make three types of movies, and if you don’t make one of those three, you have to find independent financing: It’s either big-action superhero tent-pole thing, or it’s an animated film, or it’s an R-rated, raunchy sex comedy. They don’t make movies about real people.
For my very first movie, ‘Roger and Me,’ I made it as part of my deal with Warner Brothers that the four people that were evicted in that film, that Warner Brothers would house – would pay their mortgage or their rent for the next two years to give them a chance to get on their feet.
I really liked doing a number of the projects and directors, and etc., etc., I knew about half-way through that I would never be doing that again. It’s just not me. I really am happy as a part-time film composer, not a full-time film composer.
With ‘Nobody Knows,’ I consciously set out to make a fiction film, which is a different approach from ‘Distance,’ but I still applied a lot of the things I learned from making ‘Distance’: for example, how to use the camera in relation to the children and how to create the right atmosphere on set.
I do believe, and I will always believe, that Shakespeare on film is really something that should be tried more often because it is an opportunity to take the humanity that Shakespeare writes into characters and express it.
You have to find it in the moment, and that’s one of the challenges of being an actor – especially a film actor – is that you have to maintain these heightened emotions for long periods of time. There’s no trick to it. You just have to do.
I got to work with Dustin Hoffman on a film called ‘Billy Bathgate.’ I got to work with Meryl Streep and Goldie Hawn and Bob Zemeckis on ‘Death Becomes Her.’ There are still a few actors out there that I would like to work with.
When you’re doing a single-camera show, it’s more buying into a level of reality. I think a sitcom, a four-camera show, doesn’t require that so much. I think with a film show, you just need the characters to grow.
Before the Beatles, America was musically a very conservative country. You can see film footage of people at a baseball game, they all had hats and ties on, and the women were dressed up like they were going to church. That was the America that I started getting interested in musically.
I think India is very passionate about films. It’s almost a second religion back home. Due to that, I think film stars are – are really held in great esteem. Not that we’re complaining, but I think with that comes a lot of responsibility.
‘American Honey‘ takes you into the feelings of a girl travelling through the UnitedStates while giddily in love. You see modern America through her intense feelings. But again and again the film pulls the rug out from under your feet – scenes never play out as you expect.
I bristle a little when the argument for film gets put into the nostalgia ghetto. Film is still the highest quality and best-looking image capture medium available. I don’t think it always will be. The digital image will get better, and it will eventuallysurpass the quality of the film image, but it isn’t there yet.
I guess what I enjoy most is directing, because it incorporates all aspects of filmmaking. Directing is in the same line as acting – both are popularitycontests, and in both you’re trying to tell a story through the film as a medium.
I am an emotional and fragile person. I observe life, I am perceptive and can read a person’s body language. I have a strong journalisticstreak in me, and had I not been a filmmaker, I would have become a film journalist. I have combined my perceptive and journalistic traits to create my own brand of cinema.
As a producer, the most important call you can get is on Saturday morning, when the Friday-night grosses come in. As a director, you want your film to be successful. But your outlook is a bit different. You become very conscious of the reviews.
We had nothing in hand and my father used to live on the street. The profession of acting happened to him when B.R. Chopra picked him up for a film, and my father acted just to earn money for survival.
I felt ‘Gone with the Wind’ would last five years, and it’s lasted over 70 and into a new millennium. There is a special place in my heart for that film and Melanie. She was a remarkable character – a loving person – and because of that, she was a happy person. And Scarlett, of course, was not.
With each film, you are still trying to get the length and measure right. And failure is all about others’ perception of you. When you have one success, they think you know it all. But if you fail, they think they know it all.
I would have to say honestly I was very pleased to be in a film whether it was good or bad with De Niro, Norton and Brando even if I don’t have any scenes with them, I thought it was pretty good company to keep.
The very first film, documentary that I made, was called ‘The First Year.’ It was 11 years ago and I followed these five noviceteachers. I was actually with them on their first day of school and followed them for their first year.
You get so lost in the making of a film, and you get so fixed on just, like, every tiny detail. If something doesn’t hit the bullseye in the way you wanted, you become obsessed with that, and you get so just lost in that maze of neurotic thinking.
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.
And if you’re a golfer and you watch a golf film and Matt Damon swing, and it’s not great, then you’re not going to believe in the golf story, you’re not going to believe in the rest of the film. That’s the whole movie, so if that swing looks like crap, the movie’s crap.
I loved ‘Saturday NightFever‘ when I was a kid. I couldn’t believe people talked that way. It was just a whole new culture I didn’t understand. I snuck into it. It was an R-rated film. So it holds a special place.
It’s pretty easy to make a film in China. A few years ago I just walked into the office and let them know I wanted to make a movie called ‘Red Cliff‘ and they were so excited. They said, ‘Let’s do it!’ It’s that simple.
I’m a bit of a shopaholic. I’ve been working in the Bollywood film industry since I was 17, and I have always been financially independent, but I think I would be useless looking after my own money.
I learned how to turn it on and turn it off. You learn that in theater, too, but for film work, I learned from doing ‘Henry,’ I learned how to leave work at work and go home. There’s always spillover. Actors speak of this.
I loved doing ‘Pennies from Heaven.’ Because you have to understand that I’d been doing comedy for 15 to 20 years, and suddenly along came the opportunity to do this beautiful film. It was so emotional to me. I loved it. I don’t think it was a good career move, but I have no regrets about doing it.
We shot ‘Breaking Bad‘ on film; we capture ‘Better Call Saul’ digitally. In the shooting of ‘Breaking Bad,’ we would have this steady, handheld, cinema verite sort of look, so we purposely went the opposite way with ‘Better Call Saul’ – locked in the cameras and made the movements smoother and more mechanical.
I grew up idolising Madhuri Dixit, though I wasn’t a Hindi film buff. I had an academicupbringing, and movies were a rarity. I looked up to Madhuri because I loved dancing, and she’s a fantastic dancer.
For me, money has never been an indicator. And it is very sad that each and every film these days is being judged by the money that it makes. It’s a world that I don’t want to be a part of, and I try and stay away from that.
In film, it’s very important to not allow yourself to get sentimental, which, being British, I try to avoid. People sometimes regard sentimentality as emotion. It is not. Sentimentality is unearned emotion.
There are so many great actors, but I really have a lot of respect for JohnnyDepp. I’ve seen a lot of movies with him in it and, even if it’s a film that wasn’t as successful as you thought it would be, I’ve never seen him put in a bad performance. My favorite actors from history have to be Steve McQueen and James Dean.
I have a studio in a barn at home – we rehearse there, we film there and we record there. It’s fun to hang out with my guys and see what comes out next.
I love that feeling you get once you leave a cinema having just watched a movie during the day. Your eyes slowly adjust to the natural light, and your mind, being a little slower, takes its time to separate the images of film from the reality you are suddenly facing.
One of the great pleasures of going to see a Daniel Day-Lewis film: you haven’t seen him in five years. Where have you been? So, it’s a special event, right? Well, if you want to go see a movie that I’m in, it still may be a special event for you, but, you don’t feel like you don’t know where I’ve been.
I have met Jackie Chan about 6 times up ’til now… and even though many people think we are natural enemies, I personally think he is a cool bloke and would honestly love to work with him in a film one time – that would a well brilliant movie!
I really woke up one morning and said, you know, ‘I haven’t seen a good film about the American Revolution. And all the ones I have seen haven’t been successful, but I’m going to make a successful one.’ Well, I wasn’t able to do that.
I would recommend ‘Lesson Of The Evil’ to be given as a DVD gift on a child’s 15th birthday. In Japan, children under 15 are not allowed to watch it. Plus, ‘Lesson Of The Evil’ is one film where the older you get, the more you will be able to understand and enjoy the film.
It used to be that you kind of got pigeonholed into one thing – you’re either a stage actor or a TV actor or a movie actor. Today, there’s a lot of crossover with film actors doing television, which never happened before, so those lines are a little bit more blurred than they used to be.
I was born in Faridabad but brought up in Delhi and Mumbai. My father had been living hand-to-mouth and literally slept on railwayplatforms when he came to Mumbai for the first time to become a film singer. My parents were both singers; they sang together and fell in love due to their singing.
I’m really passionate about representation in film. I feel like the world is dominated by such a small group of human beings. There are so many different kinds of people that aren’t represented, that don’t have characters who look like them.
To me, spending millions of dollars recreating the world’s sadness with actors and props and sets – it seems like a kind of arrogant waste of money… Unless, that is, it’s a film about an historical event.
When I’m working with Red One, we all have to do everything, from making sets and costumes to tearing tickets. Forget about craft services! So when I get on a film set, it’s a thrill to be just working as an actor.
Director Jai Krishna is an optimist who has a never-say-die attitude. He has impressed me thoroughly with his faith in the industry. Not many are aware of the fact that this man had to wait for almost 30 years in this industry to direct ‘Vanmam,’ his first film.
I didn’t set out to make this kind of picture. It just came my way. But its been going on for me for 16 years now and its wonderful for an actor to work consistently. There seems to be an insatiable audience for this type of film.
When I made my first film, I was arrogant and over-confident.
Francis Ford Coppola did this early on. You tape a movie, like a radio show, and you have the narrator read all the stage directions. And then you go back like a few days later and then you listen to the movie. And it sort of plays in your mind like a film, like a first rough cut of a movie.
My ambition, a long time ago, was to be a film music writer. A compromise then was to be the guy who wrote songs for a band and played slide guitar. Then the singer didn’t turn up for an audition, and I was the only one who knew the words. That was it – bingo! Life took a different course.
The next film I’m making is a horror film, and I’m making it with A24. It’s a dark break-up movie that becomes a horror film, set in Sweden. That’s all I can really say now. It’s called ‘Midsommar.’ Everybody’s been spelling it wrong. It’s ‘midsummer’ in Swedish.
I have no ambitions at all! I have none… seriously. I want to be a good father. I want to be a good husband. I want to be a good son, a good brother, a good family member. I don’t have any ambition to direct a film or write a play. I like acting.
I got into film school. I went and didn’t know anything about it. Over the course of two years, I kind of got kind of good at it. You know, I had a brief moment where I wasn’t sure if I could do it. I didn’t know you needed light to expose film.
A woman can be very beautiful and an ideal model and she will photograph incredibly well, but she’ll appear in film and it won’t work. What works is some fusion of physical beauty with some mental field or whatever you call it. I don’t know.