Film Quotes
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I felt, if I'm going to take on some of the most overdone material, which is men and women and affairs and betrayal of friends, I had better have a new take on it. I think my films come from a desperation not to be boring.
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Film actually is a very strange thing - you can fly in, get off the plane, and climb into bed with somebody you've never met - and that's weird!
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The Dutch film industry is a pretty small community, so within Holland, I think most actors know each other and have worked with each other. The actors that are working internationally - that's a small number.
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You can have a film and have 200 white people working on it, and nobody finds anything wrong with that. But if you insist on having a black crew, all of a sudden there's something wrong.
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I have a vision of artists putting into film, drama, literature, music, and paintings great themes and great characters from the Book of Mormon.
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What Clint Eastwood meant was when you are directing and starring in a film, there's a temptation to spend more time on the other actors' performances, and then when you get to your own work, you kind of go, "Oh, yeah, well, let's cut that." And he said, "Take your time and make sure you do your work right." It's especially good advice if you're going from one career to another.
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When I started out, there were three things that made film people look at me with condescension, I was young, I was black, and I was female. I have won a certain respect, but I think the film community still sees directing as a male job.
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I know there are things I did in education that will never be reversed. I have not done that in film yet because I have only been here for about nine months.
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I got into film in an odd way - when I was 17 years old I participated in a Swedish film as an actor. I think every person at that age should get a role in a film, because during that time you want acceptance, and when you have a role in a film you become an important person. I think about that now, and that was my fantastic starting point.
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A film is the reflection of the soul of its creator.
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Making films is too big an undertaking to be doing it on a whim, so you're waiting all the time, until you finally meet the person who gets it.
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I can't sit through the superhero films. But I watched Draft Day, and it was kind of sweet in an old-fashioned way.
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You invest into the future, and that's how young people become human in best sense of it - through the great experience of listening a Müller symphony or to see a great play by Tennessee Williams, experience something in a ballet, in a film.
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You always try and make a film that is a letter that will be read and we are so glad that it is being read by the right people in the right place and is inspiring change. It is also gratifying that the survivors are finding it healing and transformative. That's been really great.
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I've just had the opportunity to see the finished film of 'The Hunger Games.' I'm really happy with how it turned out. I feel like the book and the film are individual yet complementary pieces that enhance one another.
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They still put you in a room with these people who apparently have no difference whether you're making a family driven show or otherwise. But I do realize it's very sad to me. This is the first film Oz The Great that I've done that's not R rated. It's a really weird connection.
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For me the best kind of film music is liturgical music. Liturgical music is essentially a million scores for the same film.
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Every film is exciting because I get new tools and cool new things to do.
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You do a film and you know where you're going, you have this material to stretch and play with as much as possible because you know how it ends.
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I did a film many years ago called The Man Without A Face.Gaby [Hoffmann] was in with Mel Gibson. That was his directing debut. He did a great job.
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A lot of country making films in English, but in Japan we are very shy to speak English.
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From where I started to where I'm at right now I'm loaded in retrospect to the opportunities that I have. As far as money and the scheme of the world, I don't cash in. I do films because I'm sensitive and maybe stupid, and that I feel like I'm going to have fun on and feel like I'm going to have a good experience with. It's not about punching in and selling soap.
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At this moment, everyone is in crisis, not only in Italy but all over Europe. Only in America do they make films that are successful all over the world. In Europe, production is quite poor. We have three or four or five films, which is not enough.
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X-Men films have always been big, and necessarily so, because of the stories they have to tell.