Film Quotes

I like naturally occurring film grain, and what happens to film when it's under- and over-exposed.

If you use hand-held techniques just to make the film stylish I think it's wrong.

I should mention Vittorio Storaro, who was Bernardo Bertolucci's cinematographer. You watch those films and they are exceptional.

I had never met Woody Allen before Melinda and Melinda. My agent knew the producer of the movie and he suggested that we would work well together and then we did. We had a great time on that film.

I don't think there is any advantage to digital unless it's in a case like Slumdog Millionaire, where you have to get a shot and a big bulky film camera is out of the question.

A good [film] director is talented, imaginative, and does his homework.

I like the film camera better because the film is still one hundred times better than any digital image at the moment. So, there are certain movies that you can't really do digitally.

I love thinking about the film, the project and committing myself as much as possible.

I'm a fantasy guy. So I brought the fantasy element to the Riddick, David Twohy brought the sci-fi, and it came together.You see that in every aspect of the film.

That's what I love. I love thinking about the film, the project and committing myself as much as possible.

I have a preference for film just because of the familiarity. It's what I know, and I sort of have nostalgia for it.

I was thinking of going to London drama schools or to New York, because France didn't accommodate the things I wanted to do in film.

I met Milos in 1967. I was working on a student film. And there is Milos Forman. So that's how I met Milos.

I feel like I share a great relationship with my audience where they trust my judgment and choice of films and sense of comedy.

Once your acting job is over, you just hope they have a good editor and they put together a good film.

You cannot believe how hard it is to try and raise money for a film. I did it for six years and it was such a failure.

For the film maker must come by his convention, as painters and writers and musicians have done before him.

I am inspired by the films of Pedro Almodóvar, as they are funny, sad, and extremely weird.

I can't really say that film music inspired me; it is more the films themselves, in connection with the music.

I think there is a big question in how much music a film needs - a lot of films are overloaded for my taste, so that the story can't carry its own weight.

In a way, I pick out the films that have a same attitude as music that I like.

'The Princess Bride' is by far the most popular film I've ever done. I don't think I'll ever top it.

I've always loved that film ['The Three Caballeros'], and we were looking for a way to apply it to our own work, and 'Trolls' was it - psychedelic, musical and kinetic insanity.

When I came up with the character of Wicket for 'Return Of The Jedi', which was my first film, I was a kid of 11 years old, and I basically was playing a very young Ewok.

As a film actor, you don't often get that opportunity to meet with your audience and take your applause on stage.

When you do films that have multiple sequels, you develop a character for a film.

Nothing's better than coming away from a film when people don't even recognize you, because you've undergone a total transformation.

It seems odd, but people who see my films normally take them in in a deeper way than you would actually watch a film, let's say The Terminator or whatever.

For me, the distinction between documentaries and feature films is not so clear - my "documentaries" were largely scripted, rehearsed, and repeated, and have a lot of fantasy and concoction in them.

I work very fast and steadily, and I don't hardly ever notice that I'm working. It feels like just breathing or walking when I do films.

There is never an excuse not to finish a film.

It's all movies for me. And besides, when you say documentaries, in my case, in most of these cases, means "feature film" in disguise.

I always felt completely confident - it's like in a feature film, knowing your principle character is extremely well-cast. I had that same confidence in Clive [Oppenheimer].

Of course subjects are changing, and since I started so early in filmmaking, I did my first film at age 19, of course you grow up with your films and you are not trotting the same path all the time.

I have nothing against 3D films but I do not need to see them.

My contacts with the film industry can be described in very simple terms: The industry does not really need me, and I do not really need the industry.

I know what I'm talking about and I've never been over budget, in 70 films.

It doesn't matter whether you shoot on celluloid or on digital, you better make a good film.

There are specific times where film noir is a natural concomitant of the mood. When there's insecurity, collapse of financial systems - that's where film noir always hits fertile ground.

I'm quite convinced that cooking is the only alternative to film making. Maybe there's also another alternative, that's walking on foot.

By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.

When I film, there are no emotions. That would be the last thing.

Netflix knew I was going to North Korea and Ethiopia and Iceland. They saw the film and liked it and that was that.

I always had a feeling, for example, that there should be something from Verdi's "Requiem" in the film. You hear it when you see the lava flow in Iceland. That turned out to be a very easy choice.

The beauty of Netflix is on the 28th of October they push a button and the film will be in 190 countries at the same moment in 17 languages.

When you look at any of my films you will immediately be able to tell this is a [Werner] Herzog film. Even if you didn't have any credits, in two minutes flat you would know.

I never really planned on making action films. It just kind of happened.

I had such a good time doing that movie [Sister Act 2]. My daughter's in that movie. It was a fun film to do. And it shocked a lot of people, because they loved it, and they take it with them.

James Caan told me at the end of filming 'Elf' that he had been waiting through the whole film for me to be funny - and I never was.

You have to contort your body in a certain way to hit a low note. When you're on film, you can't. So you do, in a sense, get to hide behind your voice, which is nice.