Film Quotes
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There's been a lot of talk about the film it has served as an organizing tool, a kind of reference.
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I guess I've been fortunate in having an ongoing film career while being based in Melbourne. I'm happy to commute. A day on a plane. Come on. It's easy.
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'Drive' is definitely an inspiration because it was a film that was able to use what would normally be considered cheesy, kind of bold, electronic music choice and pull it off in a mainstream way.
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'Coraline' is Neil Gaiman's book, it sold a lot, it has a big fan base. It was originally conceived to be live action, but I never really wanted it to be. I always thought that it would work better as an animated film.
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From an outsider's perspective, it's amazing what [Clint Eastwood] does. If he's not directing a film, he's acting in it, or rather he's composing the music for that film. His commitment to what he does is astounding for all of us to witness. It's inspiring, actually.
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I have always been fascinated by the way music can completely change the way you watch film - and how you feel as you watch the images.
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The script for this film was written 52 years ago by Edward R. Murrow, who taught us many valuable lessons about responsibility and always, always questioned authority, because without it authority often goes unchecked.
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Ninety percent of films are pretty mediocre, but they have a built-in audience and open on 3,000 screens.
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Making a martial arts film in English to me is the same as John Wayne speaking Chinese in a western.
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He originally wrote Love Story as a movie, but turned it into a novel which was published just before the film went into general release.
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Gradually the live TV scene simmered out, replaced by film, and that took place in L.A. So many actors left New York.
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I find that most of my scripts have a lot more scenes than most films, so the average movie might have 100 scenes, my average script has 300 scenes.
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That's the imagination that happens in the theater. That imagination is translated in film by the film magicians and all the technology.
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If someone were to hire me for a film they'd be getting a certain kind of package, that's for sure, a certain set of tools. But I would listen to the director.
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My heart's in stage. Making Quadrophenia was exciting because we were riding around on scooters with no crash helmets. But "hurry up and wait" is the anthem of films. Everybody wants you ready, and then you sit doing nothing.
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When a film like Chris Nolan's Memento cannot get picked up, to me independent film is over. It's dead.
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I'm into capturing the moment. Sometimes, I'll rip the camera out of my assistant's hands and he'll be shouting, But there's no film in the camera! and I think, Never mind! Let's go.
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The lasting and ultimately most important reputation of a film is not based on reviews, but on what, if anything, people say about it over the years, and on how much affection for it they have.
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There are always tons of names on a movie of people that didn't actually do anything on that film. I feel bad for the people that busted their ass because they get the same credit as someone who did nothing. It's kind of a weird thing.
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It's been quoted in articles and all that ?this is like A Day Without a Mexican .? That the film was prophetic.
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Theater is still a medium which attracts young writers. You'd think that it would be all over by now, with television and film. But it's not.
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In horror, character development is often pushed aside in favor of the shock value. The best genre movies to me are movies like The Shining. You had a connection to the characters in that film.
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There's something that people misunderstand about screen quotas. It's not about rejecting or hating other countries' films, but about protecting our domestic film industry.
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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.
