Film Quotes

The way I see it, I belong to the film as any other department.

We did receive some questions about the film's [Aquarius] sexuality in Cannes, but they came from the press rather than audiences.

Ultimately, you just have to do what feels right for the film. It really helps when you have great collaborators like my editor, Eduardo Serrano, who kept telling me various scenes should be longer.

I didn't want to overstate anything, but at the same time, the scene expands on some of the themes in the film [ "Aquarius"].

["Aquarius"] it had a bit of a rocky arrival in cinemas because we were given the 18+ rating, which did not make any sense in terms of the Brazilian rating system for a film like this.

The film [Aquarius" ] is very, very successful. We had the highest per-screen average of last week's releases.

I think anybody who was ever saddened by a movie theater closing would be able to understand this film [Aquarius].

I just hope the film [Aquarius] doesn't feel overly nostalgic because too much nostalgia for me leads to depression. I think Clara is very pragmatic.

Everybody else is going to react differently to the film [Aquarius], but what I love about it is that both men and women are going to react to it because they will find themselves represented.

It always surprises me when I see the director's versions of films released separately, long after the film's theatrical run.

My good friend Josh Bibby happens to be a pro skier and has used my music in 2 international ski films.

Film is just a mirror of the society we live in.

I would love to do a really cool romantic comedy, perhaps with Hugh Grant. I think he is brilliant. That's the kind of film I love to go to see. I love 'girls' films.

Me too." I agree fervently. "Every film should definitely have a message." Which is true. I mean... take the Lord of the Rings movies- they've got loads of messages. Like "Don't lose your ring.

When you direct your first film, you always start by telling stories that you are familiar with

I never read a book if I'm auditioning for a film based on it. I like to stick to the script only because that's exactly what I have to play.

As a black actress, all I was offered in British film was the best friend role, whereas in television, I was offered a whole spectrum of parts.

You have to be involved and relate to the characters in order to make a film that is true emotionally.

Do the Right Thing' was my first union film. I looked at the rosters, and for the most part, it was white males. Especially the Teamsters. So we had some conversations.

You know that first of all your films have to make money no matter who you are.

First of all, what in this world does not revolve around money? But money is a big part of film, unlike a lot of other art forms.

I don't think I'm a total pessimist, so I think you can find hope in all my films.

'Do the Right Thing' was like the first film where I really felt comfortable working with actors.

I am trying to stay away from this position of me "returning to my roots." As if my roots are that I'm only comfortable working on low-budget, small films. That's not the case at all.

I think that there is always room for improvement so I am seeking to reach as far as I can in my field of art, film and animation.

Poetry is a totally different art than film.

I think I've done more recording in the past 10 years than most people, but it's all been directed toward film composing and soundtracks. Just the same, it's been great.

I don't think a guy that really has no understanding about people, or has no interest in understanding people would make a good film composer.

Even The Impostors, as silly as it is, is a very intimate film, in a way.

Gypsies are, to say the least, underrepresented in literature and film.

I like to watch old films. Meet Me in St Louis, Cul-de-Sac and Buffalo 66 are some of my favourites.

I'm not always happy when Hollywood does remakes of films, but that's usually, when they have a very, very, very good film and they take away anything controversial from it and make flatter.

When I decided to pursue a career as a Muppet Performer when I was in college, it was my hope to be able to play a wide range of Muppet characters in all areas and genres of television and film.

This film "Phantom" takes everything that's wrong with Broadway and puts it on the big screen in a gaudy splat.

You can talk film theory till you're blue in the face, but in the end, the thing that may haunt you most about a movie is a pair of eyes.

I've never met anyone who has convinced me to say, "No, I'm not gonna take the next Spielberg film, I think I'll stay here and have a baby." I've never met anyone of that caliber.

But Mary Elizabeth felt different. She kept saying it was an "articulate" film. So "articulate." And I guess it was. The thing is, I didn't know what it said even if it said it very well.

I categorically resist this idea that films are supposed to be autobiographical and the only stories you tell are about your own life.

It never crossed my mind to make a film about Muhammad Ali or the Queen or any of them! They just come out of the blue.

It's a great privilege just to be in a film not because you're some packaging that some agent has done with the studio exec: "We need a John Travolta film."

I've never had any illusions about being a lead actor in films, because lead actors have to be of a certain kind.

The average development time for a Hollywood movie is nine years. Nine years for a studio film. And a lot of what you do is abstract.

Some trials look as much like the trial of an ordinary criminal case as a Hitchcock film looks like a home movie.

Alex [Kendrick] and I started out the whole film-making journey as a desire to reach people for Christ and try to impact their lives for him.

With every movie, we will spend a season of prayer just asking God what's on his heart, and we spent about a year, two years, in prayer, trying to figure out the direction for the next film.

By its very nature, film is supposed to be an accessible medium to everybody.

I love the stage. It's terrifying in a way that film and television is not. When you're about to go out, and you're adrenaline just gets out of control, and that can be really daunting.

I edited Big Funk, some of the footage was shot by Peter Care. We were film buffs as much as music buffs, and so there are film reference as well as sound references.

I think probably underneath it all, film [Kino] has its own rhythm and its own dynamic, and we were trying to capture the movement of film and cross-reference it with music.

My goal as an actor was to work - to be a working actor, whether it was in theater, and, well, I didn't even consider film and television when I was in New York, but what came along, came along.