Movie-making is telling a story with the best technology at your disposal.
We're gonna try and bring on all the different aspects of horror movie making and bring on guests and show all these old '50's B movies. Not the real corny ones, the real cool ones.
That's why modern corporate movie making has become so laborious that comedians are kind of kicked out by 50.
When I work alone, my process is like painting. With Fleetwood Mac, it's more like movie making.
Every time a bell rings, an angel gets his wings.
I'm going to make him an offer he can't refuse.
I'll make him an offer he can't refuse.
Frankly, my dear, I don't give a damn.
A cinematographer is a visual psychiatrist, moving an audience... making them think the way you want them to think, painting pictures in the dark.
My flag is always flying. My shingle is always out. I'm always looking for movie ideas. The hardest part of this whole movie-making endeavor is finding ideas. That's the real goal.
I like having my hands in the clay. I like the movie-making process.
The director is the most important because, ultimately, as an actor, when you watch a movie, it looks like an actor is giving a performance, and they kind of are. But, what's actually happening is that an actor has given a bunch of ingredients over to a director, who then constructs a performance. That's movie-making.
Movie making is really, it's a director's medium, it's not even so much an actor's medium.
There are no minor decisions in movie making. Each decision will either contribute to a good piece of work or bring the whole movie crashing down around my head many months later.
We can learn not to keep situations or events alive in our minds, but to return our attention continuously to the pristine, timeless present moment rather than be caught up in mental movie making.
Movie-making is the process of turning money into light. All they have at the end of the day is images flickering on a wall.
The worst thing about movie-making is that it's like life: nobody can go back to correct the mistakes.
I like the detail work of telling a story in small pieces, as is done in movie-making, and also the long leap of faith needed to see a theatre performance through each night. Both require focus and self-discipline.
Sometimes movie-making happens like clockwork; other times, like a car accident.
I am so delighted when I get to see a really good movie. In that experience the artifice of movie making, the photography or the cutting style, falls away because you are inside the movie.
The problem is I want to do everything. I really love all of it, and I love every aspect of movie-making and storytelling, and I love television, I love the Internet. I wish I had time to do absolutely everything.
I think each movie-making process is a very exhausting and satisfying and fulfilling experience for me.
One of the things that's great about New York is that it is not a one-industry town. It has education, academia, the service industry, arts, publishing, theater, politics, fashion, finance, as well as movie-making.
I think movie making can sometimes make you lazy in your approach. Occasionally you'll be shooting a scene and it's not even your coverage but you'll catch yourself slipping away and you'll see your mind going somewhere else. But you just can't afford to do that on stage.
No studio in Hollywood wanted 'Cold Mountain.' None. No one wanted 'Ripley,' no one wanted 'The English Patient.' That tells you there isn't really an appetite for ambitious movie-making out there.
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