Film Quotes
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Directing a film requires a different set of skills. It is a difficult job, and I am happy being an actor.
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A period film is a gift for a cinematographer.
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I'm a big fan of film for one reason: because it is visual.
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I know actors come around and they always talk like that, but I don't do publicity if I don't like the film.
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I always saw photography as a way to get to film.
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I like being the lead but I like being in an ensemble. There are different challenges and dilemmas with both. If you're carrying a film, there's a certain weight, but there are a lot of scenes to explore the character. When you're in an ensemble, you have to convey the entire character in a limited number of scenes.
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I could be equally happy on a film set or in the middle of a field.
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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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A film like 'The Sixth Sense' burns an image of who you are into people's minds.
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I was going to become a youth worker because I do voluntary work with the kids in the little village where I live. I make little films with them and stuff when I'm not working. I thought, I'll pack it in then and go and do something I love doing, and get a regular job because I've got two kids and a mortgage.
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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.
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I had an almost fetishistic attraction to film technology.
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Truth is, generally I like film festivals; somewhere at some level there's an exchange of ideas.
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I love to watch low-budget indie artsy films, but I do also love the big blockbuster things. I would love to do that one day, do a Marvel film. That would be really great.
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I've definitely become more aware and conscious of what directors I'm working with because it's so important. The director is really more than half the battle of the film. You really rely on that. That's become really, really important to me, for sure.
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Through the history of my records, from when I started controlling the visual, I always used lower case letters for everything, I can't even explain why that is. The character is actually me, and I think once you see the film for the record, or see the video or really get in to the record, that will all sort of reveal itself to you.
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I think it's always harder in a film to convey intimacy.
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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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The tale of 'Point Break' is about doing what you love and committing to what you love. It's relevant to me as a Venezuelan, to you as an American, to any Chinese person watching the film.
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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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The best times I had on film sets were the times the director let me express myself, but those were rare.
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TV is obviously so different from film: because it's a never-ending process, it keeps going; you keep receiving new pages.
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There have been 15 or 16 screenplays over the years, including one by me, but none of them has gotten made because Paramount is a huge studio. The Dice Man is an anti-establishment cult novel and you don't normally make studio films from such dark comedy material.
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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.