In this post, you will find great Films Quotes from famous people, such as Claude Chabrol, Stephen Daldry, Mike Leigh, Kartik Aaryan, Rohit Shetty. You can learn and implement many lessons from these quotes.
Independent film is almost nonexistent right now, because all the distributers that used to love to put out these little art films are all out of business right now, because it costs so much to open a movie.
People always say, ‘Oh, I’d love to work with my sibling,’ or ‘My God, I could never work with my sibling.’ It was just a natural process for us. We started collaborating on our first films and it evolved. We have a passion for film that we shared as we were growing up.
People who grew up watching Disney films like myself, there are films that are certain benchmarks in my childhood. ‘The Little Mermaid‘ was the first movie I remember seeing. ‘Beauty And The Beast,’ ‘Aladdin,’ those are three I remember right off the bat.
When I moved to Bombay, it was very harsh. I was nothing like what I am today. I couldn’t speak a word of English. In England, people might be very understanding about that, but in Bombay, they’re not very forgiving. ‘If you don’t speak English, how do you expect to work in Hindi films?’
Luck, I never looked to make difficult movies on purpose. You make the films you can make.
There are a lot of movies I’d like to throwaway. That’s not to say that I went in with that attitude. Any film I ever started, I went in with all the hope and best intentions in the world, but some films just don’t work.
Most of the most successful films Blumhouse has made have been rejected by everyone else. No one wanted to make ‘Get Out.’ Nobody. Nobody wanted to make ‘The Purge.’ I think it was floating around for three years before it came to us. Nobody wanted to make ‘The Gift,’ when it was a script called ‘Weirdo.’
There’s so many great Western films. Let’s see, ‘Red River,’ any of those Henry Fonda movies are fantastic. Any of those JohnFord movies are fantastic. I love all the Eastwood ‘Man With No Name’ movies, John Wayne, ‘True Grit.’
A l lot of films I’ve done are essentially about women who are finding their voice, women who don’t know themselves well.
Sometimes films ignore other points of view because it’s simpler to tell the story that way, but the more genuine and sympathetic you are to different points of view and situations, the more real the story is.
Because I direct films, I have to live in a major English-speaking production center. That narrows it down to three places: Los Angeles, New York and London. I like New York, but it’s inferior to London as a production center. Hollywood is best, but I don’t like living there.
The day I was born, I knew I was going to act! Okay, that can sound a bit exaggerated, but I knew I want to enter films when I started understanding the world of films and saw my father going on sets. Maybe when I was just a kid.
When I was 19, 20 I faced rejections. When I turned 20 I signed my south film and by the time I was 23, I had done three south films. I would go to different production houses everyday for auditions and they would reject me saying you cant talk, smile, dance or act.
If people are looking forward to my films, then I am happy, and I must be doing something right.
It is important to keep the filmmakers interested in you so they can offer you everything and anything. We actors are not given work on the basis of audience poll; the filmmaker will cast you after they see and like your work. It is essential to do different kind of films and not get typecast.
I’d be doing all sorts of odd jobs and traveling the world. Let alone if I wasn’t an actress, even now if my films stop doing well and people stop liking me, I’d go do odd jobs, like a waitress or something like that and save just about enough to see the world.
You see thousands of films you forget the minute you come out of the cinema, don’t you? Because they don’t mean anything. It’s the tough ones like ‘Breaking the Waves‘ and ‘Nil By Mouth‘ that stay with you, that you never forget. I’d like to leave a few of those behind if possible.
I am writing a book called ‘The History of Australia in Hundred Objects.’ It’s of things we have invented in Australia. And you know, some of them are amazing. We invented the clapper boards used in films. We invented those cranes – those big long cranes used on constructionsites.
If I watch ‘Gone With the Wind,’ I always find it interesting. I think, ‘What’s going to happen next? What’s that character going to do?’ But you know, you never really need to watch the films you made again. They stay inside you, always with you.
If you really love films, and you really want to get the full impact, there’s a huge differencebetween watching something on a small screen with a mediocre sound system and watching it on a giant screen in a giant theater with a huge beautiful sound system. I mean, the difference is electric.
I’ve always said that, first and foremost, I make films for New Zealanders. They’re my target audience. Then after that, if people appreciate my stories from outside this country, then that’s an addedbonus.
I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films – although I think they do have plots – but the plot is not of primaryimportance to me, the characters are.
Persistence is half the battle. That’s what I love about independent movies. They don’t have to be made. There’s no studio with an agenda to set up a franchise like ‘Batman‘ or to make a vehicle for a celebrity actor. My films are made because I love the process.
I think one of my favorite things to do is just lock myself up in a small room and listen to music and watch films for a day. Also I just like seeing my friends. We have pizzaparties which means I get four friends round, we eat a pizza and we’re really lazy and we play PlayStation.
Some people had fathers who were bankers or farmers, my father made films, that’s how I saw it. As for the movie stars, they were just around, some of them were friends, others weren’t, it was all just a part of my everyday life.
I try to be eclectic in my choice of films. If I’ve done anything that’s intentional in my career, it’s to try to do as many different types of characters and as many different types of genres of movies that I can.
I really think that I don’t mind people sleeping during my films, because I know that some very good films might prepare you for sleeping or falling asleep or snoozing. It’s not to be takenbadly at all. This is something I really mean.
‘Pulp Fiction’ was probably one of the first films I ever saw that really kind of took effect on me. I was about four years old – obviously wasn’t supposed to be seeing that film; my sister kind of sneaked it out and we got to see it. She’s older than me. That was something I always used to watch.
I’d like to believe that the people that have supported me in my work or identified with me in films, the people that feel they know me, they do and they don’t have misconceptions – they understand. I believe that.
Indians can identify with the Indian sensibilities, and rather than taking something from foreign films, it is always good to make a movie which has been enjoyed by a certain audience or in a certain part of India and make it available to a larger audience.
Obviously, as an actor, you have to embrace your imagination all the time, but when you’re doing one of these films, you have to embrace your most childlike imagination – a sense of wonder and uninhibited playfulness.
I was not active in films for three years owing to some treatments I was undergoing.
Sometimes I get a script that says, ‘Only you can play it.’ But I like roles in films with little moments – a hand movement in ‘Melancholia.’ I don’t like the big speeches – the ‘Oscar speech.’ I like to do unusual things on screen.
The frustrating part of it is that you’re generallyknown for what you did last. I’ve had the privilege of doing some very cool independent films that, a lot of the time, the general public doesn’t see unless you’re at a film festival or you’re into that kind of movie.
Because I work so much, people think that I have a team writing for me, but that’s not why I chose to write music for films. I chose to write music because I like to write music. So every single note that comes out of my studio is written by me, and I wouldn’t be able to do two movies at the same time.
I’m not ashamed of any work I do. You can’t decide a film’s fate before its release. There’s no surety that your new films will be better or worse than your previous ones. You can only hope to surpass your efforts.
I think it’s important for an actor to see the work they’ve done because every time you revisit a work you come up with a new way of improving it. It’s a good way to brush up your craft and your skills, so I think it’s a good thing to do, keep seeing your films.
The only movie that I would ever even consider retrofitting is the first ‘Jurassic Park,’ which I think would look pretty spectacular in 3D. That’s the only one of my films that I would consider doing in 3D.
Some films, you’re lucky enough to get some rehearsal, which is just basic going through the scene, and, ‘These are my questions, and this is what I’m trying to achieve,’ and you work things out, and maybe a few line changes here or there.
I’m into ‘The Walking Dead,’ ‘Shaun of the Dead,’ obviously, and I’ve seen all the Romero movies. I am a classic zombie queen. And I love the White Walkers on ‘Game of Thrones.’ Weirdly, it wasn’t until pretty late in life that I found my entry point into horror films.
I suffer from stage fright, so I blabber on stage and stop midway through my performances. I cannot even write a cheque, as it makes me nervous. Being around people makes me nervous. But I’m very comfortable in front of the camera, and this I realised many films later.
I used to get 2000 as pocket money, and I was being offered a car and an opportunity to make lakhs, so I said a yes. I was a kid and got homesick over my 40-day schedule in Bangalore and decided that I would only do films in the South if they were 10-day roles.
‘Moonlight‘ is a story that hasn’t been told. Whether placed as queer black cinema or urban male cinema, the lack of coming-of-age films featuring people like Chiron and set in places like inner-city Miami is pronounced and unfortunate.
My roommate at Yale University introduced me to the auteur theory of filmmaking. I soon became a big fan of the works of John Ford, Kenji Mizoguchi, Ernst Lubitsch, and Stan Brakhage. I then decided to make my own films!
The buriedcode of many American films has become: If I kill you, I have won and you have lost. The instinctiveethical code of traditional Hollywood, the code by which characters like James Stewart, John Wayne and Henry Fonda lived, has been lost.
From my side, I don’t put pressure on the director to cater to a certain image. I am happy to do different films, and I have to stick by my director. I like to completely surrender myself to the director – that way, I think, I don’t get to do the similar roles.
I’m so sick of independent films being co-opted by Hollywood. You’re making a project that’s small, really personal, and the first thinganyone asks in any meeting is, ‘Who’s in it?’ I’m like, ‘Are you kidding?’
I have done ‘Mumbai Meri Jaan,’ ‘Oye Lucky! Lucky Oye!;’ they are not comedy. But those roles didn’t stick with people. Comedy films run, even though some of them are bad films. So people see these more.
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.
Telugu-Tamil producer Thyagarajan has bought the South Indian language rights for two Hindi hit films, Vikas Behl’s ‘Queen’ and Neeraj Pandey’s ‘Special 26.’ He wants me to play Akshay Kumar’s role in the Telugu version of ‘Special 26.’ Akshay and I even look similar, physique-wise.
When I first envisioned ‘Funny Games’ in the mid-1990s, it was my intention to have an American audience watch the movie. It is a reaction to a certain American cinema, its violence, its naivety, the way American cinema toys with human beings. In many American films, violence is made consumable.
I was not getting work, even after auditioning for films. So I started working in a studio as a photographer; I assisted a cinematographer for two ads. I was thinking that I will get into photography or cinematography or assist someone. But then the ‘Dangal’ offer came, and I was busy with the auditions.
Fatima Sana Shaikh
People know me as Prakash Rai in Karnataka. Let it be so. But I’m known as Prakash Raj to the rest of India and abroad. Every actor worth his salt gets a name after coming to films.
Fortunately or not, expectations are always high for all my films.
I’m a SufiMuslim, I would say. I believe in using the medium to create a good vibration because art is so important to society. Some projects I don’t do because I feel that it’s going to create a bad vibe. I don’t do propaganda films that are anti another religion, anti-Muslim or anti-Hindu.
Audiences like me doing action and comedy. I am a jovial person and have been so from childhood. I like to laugh my way through my work, and that attitude reflects in my roles. Even women hate me doing rona-dhona roles. So I don’t do emotional films.
I’m reading scripts just like everybody else. Tin cup in hand, knocking on doors, trying to get a job. It’s tough. They don’t make as many films these days, and there’s a lot of guys that are fighting for jobs.
D. J. Cotrona
I grew up watching Keira Knightley films nonstop, and I always admired period dramas and just everything that goes into it.
Those films that really speak to the primal fear that we, as human beings, have about the unknown have always intrigued me. That’s the really scary thing, not the slasher, macabre movies. It’s the ones that deal with the inner fear: the unknown realms and the mysticisms that are scary.
Honestly, I wish I could be a part of all the remakes of my father’s films. But on second thought, I wouldn’t want to be a part of any. The thought of being compared to him is unnerving. I’d rather do my films than live in the fear of living up to his standards.
I want make more records with my sister. I want to go on the road. I want to tour around the world. I want to continue to make great films and work with incredible directors that I respect and look up to.
I’m seeing a guy now who has nothing to do with films. It’s so much nicer with somebody who isn’t an actor. Two crazy people in one house would be too much. It’s better there’s one crazy person, and one nice person who looks after that crazy person.
But short films are not inferior, just different. I think the short gives a freedom to film-makers. What’s appealing is that you don’t have as much responsibility for storytelling and plot. They can be more like a portrait, or a poem.
I think the older that I’m getting, the more I’m understand what a privileged job I have, and what an opportunity I have. Now I’m directing films and I’m getting my first movie in America off the ground, and you start to understand how the system really works.
All my cop/gangster dramas have been spaced out, but somewhere, the films in which I played the bad guy were extremely successful, so people are under the impression that I play only such roles. I call it selectiveamnesia.
What’s so great about Sundance is that they only accept such a small handful of films per year for dramatic competition, so you know when you’re going to Sundance that you’re going to see top-quality projects.
‘Taxi Driver‘ is one of those films that is groundbreaking in how much you’re inside this character’s head. It uses voice-over in a revolutionary way where the audience is invited as a co-conspirator to the whole story line.
For seven years, I made films in the cinema verite tradition – photographing what was happening without manipulating it. Then I realised I wanted to make things happen for myself, through feature films.
I am the public, a boy from Chandigarh who’s bought tickets in black and revered films since childhood, and when I choose scripts, I take out the garb of an actor-slash-star, and I consume the script as a layman.
JuliaRoberts most definitely would play me in the film of my life. Not just because of the hair but because she has all sides to her personality come through in films that I could just imagine her playing my crazy self so well.
All of the characters in my films, they share one commonality. It doesn’t matter whether they are good or bad, it doesn’t matter whether they are smart or stupid, these characters all take responsibility for their own behavior. I’m much the same.
I believe in 3D for certain kinds of films. I certainly believe in using 3D for all things in animation because animation has such clarity and so much depth of focus. It worked great with ‘Avatar’ because 70 percent of that film is animated.
If African film makers had one-tenth the amount commanded by film makers the world over – even the amount used by so-called shoestring film makers – I think we would see quite an explosion of African films on the world scene.
It was a wonderful experience working with Nagarjuna sir. I mean, I never expected this to happen. For me, who watched his films standing in a queue at theatres, and now sharing the screen with him is a huge thing.
To me, ‘Educating Rita’ is the most perfect performance I could give of a character who was as far away from me as you could possibly get and of all the films I have ever been in, I think it may be the one I am most proud of.
Personally, I can’t stand violence. In any standard American mainstream movie, there’s 20 times more violence than in any one of my films, so I don’t know why those directors aren’t asked why they’re such specialists for violence.
I’m not saying that it’s wrong to make huge Hollywood films but it’s just a different kind of feeling, a different sort of pleasure.
I always say horror films are great date movies. In the first twentyminutes, you’re going to end up in each other’s arms.
When you make feature films, you have a script, which is a bible. The final result should be as it was written down on paper. And in documentary, you can write whatever you want, but life brings you situations where you have to be fast thinking, fast moving.
Even when I was working in 30 films a year I was doing 20 plays a month.
TylerPerry‘s brand is faith, family and this whole thing that I’ve built, while my company, 34th Street Films, is like Disney’s Touchstone. We can do anything. People don’t know what to expect from me yet.
In the ’80s, when I was watching Bond films in the cinemas, RogerMoore was the man. I’ll always have a soft spot for him. His Bond films were light-hearted and silly as well as action-packed. For me, this spoke volumes. It meant that, someday, maybe someone like me with a whacky sense of humour could be James Bond.
Though I have worked in Bhojpuri films and had been introduced to the culture of the area, it was on visiting that region that I came to know that a lot needs to be done to improve the living conditions, and an initiative has already been made with the help of the Pardesiya Kala Sangam and Jagriti, both NGOs.
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 think there’s escapist moviemaking, and we want to be captivated and taken away. If it’s done right, you can craft an incredible film. There have been superhero films that I think are brilliantpieces of art.
I remember my first scene with Alan Rickman, and I was anxious because he is a slight ‘method‘ actor; as soon as he is in his cloak, he walks and talks like Snape – it is quite terrifying. But I really wanted to talk to him because ‘Robin Hood‘ was one of my favourite films.
I have zero interest in performing in films to try to convey any kind of message. My job is to be entertaining. There’s a very different point of view about messages in films in Europe than there is in the States. Audiences rebel because they feel that they are being preached to.
I am Indian, and my home is Kampala. My world is already diverse. But films are financed by those who want to see themselves on screen, and it is a white male world. Still, it does feel like America is waking up. Let’s hope it’s the start of an avalanche.
I just like the comic book sensibility. If I can turn them into films and TV series, that’s just icing on the cake.
Gale Anne Hurd
I honestly don’t understand the big fuss made over nudity and sex in films. It’s silly.
I’m what you call a good, old-fashioned working actor who has had delusions of grandeur for my entire career and has known what I want to do, but there’s a lot going on out there. There are a lot fewer films being made, and there’s a lot of competition.
During the war, I saw many films that made me fall in love with the cinema.
Stars work because of familiarity. They fill theatres because audiences know who they are. There is a brand equity. But there are films strong enough to not need stars, or films that should not be made with stars at all, where only fresh faces will do. So I make the decisions accordingly.
Certainly, I’ve loved musicals for a while, so I did some short films in college that had musical numbers and things like that, so I’ve kind of been obsessed with Fred and Ginger and Vincente Minnelli and Stanley Donen and Jaques Demy forever.
There are still things technically about films that I think are a mystery to me and I want to remain a mystery. I don’t particularly want to know what everyone’s job is because I’ve got lines to learn.
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.
‘Once Upon A Time In America’ is one of the cleverest films of all time, because you can get out of it whatever you want to get out of it.
One of the reasons I do like ‘Cult’ is that it plays along the same vibe as the movie ‘Seven,’ which I absolutely love. There was a period of cinema in the mid-’90s that I was a huge fan of, with ‘Heat’ and ‘Seven’ and the Tarantino era. If I’ve ever been fanatical, it was about those films, back in the day.
I’ve done films where we don’t rehearse, and I’ve done films where we heavily rehearse. I like rehearsals.
To make films, you have to have something to say. To have something to say, you have to be a student of life. And to be a student of life, you have to be feedingyourself with what life, politics, society, and your family fuels you with.
This is how I feel about horror films: there’s enough scary things that happen in day-to-day life. Sometimes just going and getting the mail is scary, when you open your bills. And so, sometimes I feel like scary movies are just tapping into those anxieties and magnifying them.
My fans are there because of my work, because of the films that I did. They are my assets.
I’ve never had any illusions about being a lead actor in films, because lead actors have to be of a certain kind. Apart from the beauty of looks and figure, which I cannot claim to have, there’s just a particular kind of ordinary-Joe quality that a film star needs to have.