Film Quotes
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The benefit of film is that you're shooting something for an intense period of time - and then it's over, and you move on to something else. In TV, you're doing the same thing over and over.
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I think if you're going to remake a film it should be something that was a good idea, but wasn't executed well. There isn't anything I would like to remake. I have too many of my own ideas I want to make.
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Film is anti-language.
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I'm a big fan of film for one reason: because it is visual.
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Each year we go to the Cannes film festival and I tend to have all my friends pile in the back of my car and we'll drive from London. The poor production company think they're only putting me up and suddenly they've got eight people sleeping on my hotel room floor.
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This is unexposed film of Greenwich Village because nothing ever happens there.
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There are certain moments that you have to hit in a film, like when a character cries.
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The difference between "trained OK" and "trained perfectly" doesn't really matter all that much to me. I once did a film with Lassie. When that dog got excited he jumped all over Rudd Weatherwax [Lassie's trainer]. Now that's the smartest dog in the world. If the world's best-trained dog can jump around to show he's happy then my dogs should be allowed to do the same. James Stewart
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I've always been intimidated by the technicalities of taking photos, especially with a film camera - not just a point and shoot.
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In all the horror films that I have done, all of those women were strong women. I don't feel I ever played the victim, although I was always in jeopardy.
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The whole thing about making films in an organic film on location is that it's not all about characters, relationships and themes, it's also about place and the poetry of place. It's about the spirit of what you find, the accidents of what you stumble across.
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Every film I do, I'm involved with from the very conception of the project.
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I try to balance independent films with commercial films, and I've done a pretty good job of it over the years.
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Today we can say that at last the director writes the film. The image--its plastic composition and the way it is set in time, because it is founded on a much higher degree of realism--has at its disposal more means of manipulating reality and of modifying it from within. The film-maker is no longer the competitor of the painter and the playwright, he is, at last the equal of the novelist
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I was influenced by European movies, old Fellini, old Kurosawa - any sort of foreign film.
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Nico was gothic, but she was Mary Shelley gothic to everyone else's Hammer horror film gothic. They both did Frankenstein, but Nico's was real.
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I don't really want a film as a present; you can get me a diamond ring.
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What I try to do is make sure that the directors I'm working with are on the same page and want to do the same kind of films. You can really protect yourself as an actor if you work with really good people. It can hide a lot of flaws along the way.
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I'm very interested in film, but any more involvement would happen organically. I'm not really seeking anything out, just looking at projects that come up that interest me.
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Making a film, setting it up and getting it cast and getting it together, is not an easy thing.
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Until I was 16 or 17, I had heard practically nothing about the history that preceded 1945. Only when we were 17 were we confronted with a documentary film of the opening of the Belsen camp.
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I love to act. And oh-so-love telling stories through film as an actor. Even on my 'days off.'
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How has The Grand Illusion held up over the years? It is not enough to say that it has retained its power. Not only has the stature of the film remained undiminished by the passage of time (except in a few minor details), but the innovation, the audacity, and, for want of a better word, the modernity of the direction have acquired an even greater impact.
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I think that two-dimensional film will always be here to stay because it always has its place, but 3D does too.
