Filmmakers need to realize that their job isn't done when they lock picture. We must see our films through.
I didn't start out thinking that I could ever make films. I started out being a film lover, loving films, and wanting to have a job that put me close to them and close to filmmakers and close to film sets.
When I do a horror or a fantasy film it all boils down to something in the script that surprises me. It could be a big thing or a small moment. If it's there I'll do it.
When did "sentimental" become a pejorative barb? I do not at all share the notion that a piece of music, or a poem, or a film that bypasses the brain and aims straight for the heart . . . should automatically be heaped with scorn. I think it is symptomatic of a sad and dangerous impoverishment of spirit.
I really want to be associated with great projects and character driven projects and films. I have to feed my soul, and keep feeling like an artist and keep being challenged.
Body Electric... It is the first song from my new short film called # Tropico that is coming out in the end of the month.
Film is the best way to capture an image and project that image. It just is, hands down.
An important film that must be seen. Saving Lincoln is moving, ingenious, original and impressive.
The film is made in the editing room.
If you make a movie of the present day culture, in the future it'll be a horror film.
You know... that a blank wall is an apalling thing to look at... The wall of a museum - a canvas - a piece of film - or a guy sitting in front of a typewriter. Then, you start out to do something - that vague thing called creation. The beginning strikes awe within you.
If there's ever a problem, I film it and it's no longer a problem. It's a film.
It's judgement day. I'm nervous. My films are finally being released!
No, I'm not a comic book guy. I'm pretty fascinated with the subculture though and I do think that the world of comic books is such a natural transition into film.
People are going to see both of us and think it's an Abbott and Costello kind of thing. It's not an easy switch. It's not an easy transition from TV to film.
Once the image was in the digital environment, one of the problems was, we had no means to reproduce the color spectrum, grey scale, and contrast that film produces, without converting the digital file to film, evaluating it, then going back and changing the digital image.
The highest pay cheque my mother ever received funded the building of a nursery school in Shepherd's Bush - the school cost well over three times the money she donated to the making of the film 'The Palestinian.' Unsurprisingly this always goes unmentioned in the press.
Directors are like generals, political dictators, aggressive people...And everyone in the film is always grateful if you can tell them what to do.
The dance that happens, between actor and director, is a very delicate thing...it's why people tend to work together on many films over and over.
It starts with the writer-it's a familiar dictum, but somehow it keeps getting forgotten along the way. No film-maker, irrespective of his electronic bag of tricks, can ever afford to forget his commitment to the written word.
The main thing is, you just want to have your place in history. You hope that people will look back on it in 15, 20, 30 and beyond years, and say, "That was an exciting film."
The last thing I want is to be (in a film role) is obvious, direct and offensive.
(The Nutty Professor) was a labor of love. It was a total film. It was the most productive, creative work of my life.
We, as film-makers, are privileged. We can make people cry or laugh. We can make them think and feel. It is a great privilege and a great responsibility.
Once you finish a film, it doesn't belong to you anymore - it belongs to the audience to interpret it the way they feel like interpreting.
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