The film is a direct mirror of the director. If your director doesn't know how to dress, there will be an aesthetic of the film that won't come through - whether it's in the costumes if he doesn't know exactly what he wants or the look of the film.
I use a lot of film images, analogies, and imagination.
The films of The Caine Mutiny and Marjorie Morningstar always seemed to me mere thin skims of the story lines, and I never did see a meager Hollywood caper called Youngblood Hawke, vaguely based on my 800-page novel. So it was that I opted for television, with its much broader time limits, for The Winds of War.
Horror films do not prepare us for the hours lost in searching after one clear thought.
Film is a collaborative business: bend over.
Many really good films allow us to empathize with other lives.
Not everyone who wants to make a film is crazy, but almost everyone who is crazy wants to make a film.
The film 'Tapped' illustrates quite clearly how we've been getting 'soaked' for years by the bottled water industry.
When I did small films like Lily and Buenos Vista, everyone thought my career would be ruined.
I went to the Tokyo Film Festival in Japan because I love Japanese cinema.
You know, 20 years... the films of television when it started, the literature, radio in communist countries, they're clean as a whistle; there was no violence, no sex, no drugs, nothing.
I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.
When a documentary filmmaker, working in the style that I do, suggests that there has been a shooting ratio of 40 hours to every one hour of finished film, that doesn't mean that the other 39 are bad.
Movie distribution may very well have migrated fully to digital form by then, making a huge dent in the need to print film and physically distribute content.
Since films and television have staged everything imaginable before it happens, a true event, taking place in the real world, brings to mind the landscape of films.
I know I'm incapable of orchestrating an entire film.
When you're working on a film, it's almost like photographing paintings at a museum. You're photographing somebody else's world. I just try and interpret it and make it real, and make it what the actors are about, what the director is about, and what the film is about.
Is America a land of God where saints abide for ever? Where golden fields spread fair and broad, where flows the crystal river? Certainly not flush with saints, and a good thing, too, for the saints sent buzzing into man's ken now are but poor-mouthed ecclesiastical film stars and clich?-shouting publicity agents. Their little knowledge bringing them nearer to their ignorance, ignorance bringing them nearer to death, but nearness to death no nearer to God.
When I was doing 'The Sopranos,' I liked putting music together with the film; that was my favorite part of it.
I was so besotted with '8½' that, when it was on TV, I used to take pictures with my 35-mm. camera of the frames of the film. That was the first time I'd ever really seen Italians on screen.
In our film profession you may have Gable's looks, Tracy's art, Marlene's legs or Liz's violet eyes, but they don't mean a thing without that swinging thing called courage.
Most writers are unhappy with film adaptations of their work, and rightly so. 'Field of Dreams,' however, caught the spirit and essence of 'Shoeless Joe' while making the necessary changes to make the work more visual.
I think the fantasy of being a movie star is more powerful than the reality. So, for me, even if it's not a great film or a great play I'm doing, to know that you went for it. You had an experience that made you grow artistically and personally. What's really satisfying is knowing that you did a good job.
I was a film-directing major at NYU. I'm still not sure why I became a directing major, when I was really an actor and a comedian, but there was something that drew me to doing that.
I lost touch with my son in terms of advice early on. Maybe it had to do with being gone so much, doing location films when he was at an age where he needed support and guidance.
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