Film Quotes
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When you work as a day player on a film or a TV thing, like you're visiting a foreign country, where you know a couple of words of the language and a few of the cultural abnormalities, but basically you're a stranger in a strange land.
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It's far easier to write why something is terrible than why it's good. If you're reviewing a film and you decide "This is a movie I don't like," basically you can take every element of the film and find the obvious flaw, or argue that it seems ridiculous, or like a parody of itself, or that it's not as good as something similar that was done in a previous film. What's hard to do is describe why you like something. Because ultimately, the reason things move people is very amorphous. You can be cerebral about things you hate, but most of the things you like tend to be very emotive.
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Secret Cinema has created a new way of experiencing film. The fusion of film and theatre allows for a much more powerful experience and adds an incredibly unique dimension for the audience. It certainly did for me. I was blown away
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You can have levity in the film because real people look for levity in their lives.
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I can write songs, I've had songs in movies, but I can't compose film scores, you know?
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What I learned is that I should probably read a screenplay every once in a while before I said 'yes'. You could make bad film out of a good script, but you're never going to make a good film out of a bad script.
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My study is a converted garage which is largely lined with bookshelves and cardboard boxes filled with manuscripts of my film scripts, plays and books.
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Film is like a drug. It is a shelter when you cannot deal with reality.
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I was always prepared for my Fringe journey to end immediately. I had only signed up for a guest role but they kept bringing me back in the third season as a recurring character. So pretty much every time I went to film a 'Fringe' episode I kind of said goodbye to the show, but then they kept bringing me back.
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War is chaotic and when you start having a larger scale film and you have a lot of safety protocols and choreography, I would imagine it becomes more difficult.
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So far I've done two films that have basically been about television because I know that world.
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A vital film that needed to be made at this point in history and has been made magnificently.
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I'll be honest, I never saw myself making a ninja movie, never entertained the idea. I think ninja films can be quite cheesy unless you do them in feudal Japan.
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The profession of film director can and should be such a high and precious one; that no man aspiring to it can disregard any knowledge that will make him a better film director or human being.
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Hopefully each film can be given a musical voice of its own, which is not to say that the instrumentation is always unique, but that the relationship between the sound and the image is unique.
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No matter how widely spread out the films are, how different, you still are you.
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I love working with film, whether it's the technical side, the acting side, or the musical side.
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I love doing action. And I love doing dramatic films, and I'd never really been able to combine them.
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The films I like to watch are when they make it relatable to human audiences.
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Feminism is something I think about more when I watch the film, Christine, rather than when I was actually doing it, to be honest with you. But I do think it functions as a sort of interesting feministic critique, because you are seeing a woman who's resolutely incapable of behaving like the kind of woman that's acceptable at the time. She doesn't know how to play the game by everyone else's rules, and it makes you realize that actually there were rules that were functioning for a woman to be a careerist.
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I'll do at least one action film every year because of my fans. This is my promise to them.
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I'm really proud of Blair Witch Project as a film, but as far as the cultural phenomenon of it - that was just weird luck.
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I start to paint my walls. And I'm heavily influenced by films.
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Garrel has succeeded in filming something we have never seen before: the faces of actors in silent films during those moments when the black intertitles, with their paltry, illuminated words, filled the screen.
