Film Quotes

I don't know how much a photograph can add to a biography, the way a film or writing or narrative medium could. Because it's a frozen image.

Back in the 70s it cost 15-20$ a shot for the film, the processing, and the contact sheet, now it’s twice that.

Light is my brush. Film is my canvas.

Every film can be fun, even if it's a terror.

There's tons of waste on every film. It really doesn't matter the budget, as long as it hits a bull's-eye.

I grew up with the television product being old Western serials like Roy Rogers, and John Wayne and Gary Cooper, and many others were my favorites when I was a young person going to films.

People come up to me and say "Steve, what is film editing?" And I say "How should I know? You're the director.

I love animated films when they are good, because they do bring a lot of emotion and heart that's very difficult to get in a live action film.

I find animated movies very touching. They reach an audience that's hard to get with a live-action film.

My approach to 'Eastenders' is the same as my approach to film and the same approach to theatre. Whatever I do, I use the same skills and tools.

The werewolf film is a strange thing.

I still really love acting. I find it really challenging. And I really love film; it's a lot of fun.

Television and film are such streamlined story mediums. You can't really meander about, whereas a novel is an interior experience.

Poor is the new black. So on this film [The Land], there are poor black people, but there are also poor Latinos, and poor white people as well.

I'm not someone who gives prescriptives at the end of my films.

[Allied] meant to be a film that's a bit different. It's roots are in the '40s and '50s, and that sort of filmmaking style.

Whenever I see a cut of a film and something is gone, I don't notice it unless it obviously should have been kept.

It felt [at the Allied set] like, "At last, I'm in Hollywood," even though I was in West London. It was like, "This is how a film should be made." It was beautiful.

There [in Allied] were things that were written that were cut, and things that were shot that were cut, but if the film works, they are erased from memory.

[The film Woman Walks Ahead] is from a long time ago. I wrote that ages ago. It looks gorgeous and Jessica [Chastain] is so good that I've got high hopes.

It's a funny thing with the inspiration thing. There's always loads of music around that I absolutely love and films going back to when I started making film music in the mid-80's.

I tend to work in layers. There's a huge orchestra in the film, but I also record a lot things with very intimate groups, and I like to be able to use the textures of those intimate groups.

Because the filming process was so organic and there was no script, the film [Dream of Life] was literally telling us what it wanted to be in the editing room.

For me, moving from photography to film was very easy.

Patti [Smith] was my experiment, to be honest. And the film is what we got out of it. At the end of the day, I learned a lot about how to make a film.

I became Patti's [Smith] messenger, basically, and the film is my view of how I learned about Patti.

Ultimately, the film [Dream of Life] is inspirational.

I was making a film [Dream of Life] about Patti [Smith], but I was taking pictures, too.

For me to see the film [Dream of Life] on a big screen - it's pretty extraordinary.

I came up with more money, took all the footage, got a great editor and made this film [Dream of Life]. But I really didn't go into it with the intention of making a movie.

We had a hodgepodge of footage. We didn't film [in Dream of Life ]all the time - we would just film periodically, so nothing was synced and nothing was slated.

The only self-consciousness in the film [Dream of Life] is anyone's natural shyness.

I had more fun making Traffic than either of the Ocean's films.

It's pretty clear to me that working as a director for hire agrees with me. I like it. The films that have come out of that, I personally like better than the ones that didn't.

I'm sure some people will say, 'Why do this?' And my response is, 'Why wouldn't you?' The film business in general is using a model that is outdated and, worse than that, inefficient.

But my sense in talking to people when I travel is that the film business is not that dissimilar from a lot of other businesses.

I have made almost as many films in England as I have in America. I will come back to England again and again.

I usually do about five cuts as a director. I haven't ever directed a film where I haven't made five passes through the movie, and that takes a long time.

The thing that I'm just scared to death of is that someday I'm going to wake up and bore somebody with a film.

History opens up new worlds to film-makers all the time.

I did not make this film about Frank Abagnale because of what he did . . but because of what he has done with his life the past 30 years.

Whatever affect any of my films have on audiences, I just kind of stop at the door. I make them and I just don't go outside after they're over.

I was born. When I was 23 I started telling jokes. Then I started going on television and doing films. That's still what I am doing. The end.

I didn't really do too much television. I really went straight into film.

I made two movies before The Police had a hit record: I did Quadrophenia and a film called Radio On.

My films have always been considered the benchmark in action. I have a big responsibility to shoulder.

Recording a scene with paint rather than film sinks you more deeply into your surroundings. You have to look a little harder and a little longer. And you end up with a memento.

You create this situation where you are so dependent on each other. That's especially true for film. In theater, the actor has much more say, much more control, for better or worse.

When I was eight years old, I knew I wanted to make films.

I don't consider myself a teacher of moral and political positions. I don't want to be that. I can't help but have a point of view when I make a film, but my first job is to entertain you.