Film Quotes

The worst question really comes from the attitude of the asker and it usually comes in the form of "What was your inspiration for the film?"

My biggest role as director on the film is keeping a sense of the overview - how to cast the movie and shoot it in such a way that it will cut together. And how to design the style and tone.

It was an interesting process trying to get Bob to talk about the film because he's such a shy person. He generally likes to talk when he really knows he has something to say.

To his credit John Wayne was open about it, he even portrayed a member of the House UnAmerican Activities Committee in a film called 'Big Jim McClain.'

Dalton Trumbo actually was [ a hypocrite], because he liked his wealth, which was against the grain of being a Communist. I put title cards at the head of the film that explains the context.

The poet Paul Éluard says that to understand my film version of Beauty and the Beast, you must love your dog more than your car.

The hot hall full of painted girls and American soldiers is a saloon in some Western film. This noise drenches us, wakens us to do something else. It shows us a lost path.

I never think of the completed film, rather the adventure of what I'm about to live.

When you finish a film, if you believed in your character, you're empty.

The financing of my films has always been international.

I make film to make time pass.

The silent film, it was cut at the age of thirty.

Just film what's there, trust what came before, one hour before, and make it easy.

I look back, and I've got a couple of films, and I'm happy.

In a career, when you hit 40 and you've done a lot of this and that, you want to try some new things. I feel like that as a director, too, from one film to the other.

Loving and appreciative, researched to a fare-thee-well, and pitched to both fans and first-time viewers of Singin' in the Rain, this delightful book delivers almost as much fun as the film itself.

I can be intimidating, but not within the confines of a film shoot.

Making films is no longer a way of acting, it is a way of life.

Generally speaking I would say I enjoy the smaller films more because there's a less sense of pressure and often the material is more unusual.

Making a film, it uses a certain... 'pretend-muscle,' I don't know what you want to call it. It exhausts something in me, I find. It has to be really something to get me interested.

That movie, 'Airplane!,' what a landmark film it was. It's a great, great movie.

I've produced a couple of films and really enjoyed starting it from the very beginning and seeing it all the way through to the end; that was very gratifying.

I think it would really be more like 10 films before I locked in and said, "Yeah, I'm really gonna do this thing."

Seeing David Mackenzie's work in "Starred Up," I thought that was a wonderful film.

My dream project is a sports film, because I love writing emotional music and a sports film is one of the few places you can do it without being melodramatic.

I love the theater, but if I had to choose, I would choose a film at this time in my life. Something meaty, to sink my teeth into.

The roadwork is just rehearsal for that DVD you're going to film a year later.

When work resonates with a person, whether it is literature or film or music, then they want to know more about the artist. That's very natural.

This Dewdrop World is a beautiful, courageous, intimate film about love and loss. It may also be the deepest meditation on climate change that I've ever seen.

Art, film, fashion, music are all going on and interacting simultaneously. And L.A. is very receptive to that fusion.

New York is the greatest character actor ever. Any film that is shot in New York is elevated by the city.

I've discovered I can't make a film about people I dislike.

I'd love to work across all three fields - theatre, film and TV.

I find that I always also manage to incorporate a simultaneous reflection on cinema history into my films.

Certainly my films are cinematically unusual, and quite contemplative in their pacing compared to conventional films, but I think overall they are quite engaging, accessible, and even funny.

I think the biggest misconception about experimental film in general is that it is always difficult and inaccessible.

Room 10 [a short film she codirected with Andrea Buchanan] nailed my personal theme: love and choosing to stay in the room when the going gets tough.

With independents[films] you sort of make them on the go and there is that little bit more creative freedom. You don't have the money to slow down!

I've made my mind up that I will only do a film that I really, really love. I'm determined to lie low until a role comes along that really makes me want to work.

When you hear my music and you feel the emotion, it's real. When you see me in a film and you see a tear, it's real.

More women have to be in charge of studios, so that they can greenlight films with women.

Yeah, when you're making a film, the book is a good tool, but once you have the script and you're making a movie, you have to let go of the book.

I just love film making; all aspects of it. I love the idea of writing but I just don't feel like I could really do it. I didn't even graduate from school.

This film [the Cell] certainly is not meant for the girls who sing along with my songs.

Films are amazing. To be a part of a movie is the greatest. It's so historic and exciting.

('Eraserhead') may seem like a dark film, but my father and I watch it, and all we do is laugh. It was Disneyland everyday on the set. That's when I fell in love with film.

I love films that test cynicism and inspire you to do better in your dealings with your family and with strangers.

A way you can get really good abs in film is you get your makeup artist to paint shadows - faux washboard. But if you see me in a movie and I have great abs, it means I have a great body double.

I still haven't made a film that defines who I am.

I think film is collaboration, and I always want to hear everyone's input.