It's a sin to have your films not to make money.
Theater and film are essentially the same - just different kinds of storytelling.
It was really hard to find another project after my first film.
I think Kellie Martin, Reese Witherspoon and Claire Danes represent the future for women in film, and I would be honored to share the stage with any one of them.
I can not watch either of the Paranormal films alone.
I'm not making films for middle aged journalists, who are mostly men. I make films that hopefully entertain people, where they can learn something about life.
I reckon I closed down at least two films companies, one of which was in Ealing in the mid 1950s.
It would be great to make a movie that had the style of a great '30's film.
The first thing I wanted to do, as a boy, was to be a skier, because I had seen film footage of somebody skiing.
I did a film a long time ago with a shaved head and I had the ugliest looking head in the world.
I think one of my biggest influences is Bette Davis. I've seen almost every one of her films, and she's been very inspiring to me.
I understand, as the young, attractive woman in film, that there's always going to be people seeking out extra salacious things for you to do.
When you work so hard on making a film, it's all worthwhile when you get to experience seeing that film with an audience who thoroughly enjoy it and react to the movie.
I also paint, draw and I'm into film and photography as well, and the same thing applies to all of them. You're presenting this material to the general public and hoping that they're going to 'get' what you're doing. Some don't, some do.
I studied political science and international relations and had the intention of becoming a journalist or work in foreign affairs. I had no intention of making a film.
When I began making films, they were just movies: 'What's the new movie? What are you doing?' Now they're called 'adult dramas.'
Films take up so much time, and with theatre, you do have to plan a period of time that you can be free.
The film business has changed so dramatically from when I started.
And sometimes I do films so my daughter can see me work.
In the past, when I shot films about fishermen and hunters, I always had to admire their ability to perceive time in its entirety. The present was always temporary.
You always want your films to go as far as they can.
I hate watching myself on film because I am so judgmental.
It's happening right now... it's just not on film, it's not being recorded.
I was totally unknown in the television and film industry in Canada.
Kolkata is the relatively unexplored part of India as far as Hindi films are concerned.
Film work can be tedious and sort of all over the place, especially when you have a family and you're going off and doing things somewhere else.
After I learn more English, I'll work hard and make more films.
If you are going to do a film properly you have to give yourself completely to it.
I'd made these experimental films but I thought the major chore of a filmmaker was to relate to actors.
It's always good to have no expectations when you see a film. Then you can be pleasantly disappointed or surprised.
And it's not only films, I'm pretty unaware of anything that's going on in popular culture right now.
I've never done a big studio film, I've only ever done little ones.
The demarcation between an art house film and an entertainer has blurred, only because a larger section of the audience has accepted such realistic films.
I love the grandiosity, how sweepingly entertaining films can be. And I think there's a place for films that pry more into the human condition.
Sequels are not done for the audience or cinema or the filmmakers. It's for the distributor. The film becomes a brand.
I have an intense obsession with making films. I not only love to make films, I perhaps need to make films.
If you take a really good book, then the potential is for a really good film. But you've got to get it right.
It's physically and psychologically exhausting to make a film.
I've very critical of myself, and film has been an adjustment for me.
Film is a collaborative process, absolutely, but I am a control freak.
I grew up on film scores and scores from films.
I feel that I've been very fortunate in the films that I have gotten and that I've chosen to do.
I just want to make sure I'm contributing good films to movie history rather than being famous just to be famous.
I get quite fed up being on a film set day after day, six days a week. It can get to be a grind.
A film that is bleached tends to have a more realistic quality.
It makes it difficult to decide which to go see, since no film about say, some tragic genocide in Africa is going to get a bad review even if it's poorly made.
I felt little awkward about taking one boyfriend to see a film starring another boyfriend.
Polar Express is not an attempt to do animation. It is a technology-based film.
My film directorial career has been nothing but repetition of one failure after another!
I never come away from a film thinking I nailed it.
It's no accident that Tony Hopkins is a wonderful film actor.
If you've ever seen the film In Which We Serve, but it was about a destroyer in the Mediterranean.
The deal is that you can do it, you don't really owe me anything, but at the end of it, I own the film. Then I can actually go out and reprint or not reprint if it I want.
Whenever I'm doing any film, I'm always just happy to have a job and I always just put 110% of myself into it.
Contrary to what many writers imply about the process, nobody forces a writer to sell his work to the film industry.
It's disappointing to see films become pure entertainment, so that it's not an art form.
Every great film should seem new every time you see it.
Film is a medium of clear lines and broad strikes - which can be fantastic - but compared to the subtleties and nuances of a novel, it doesn't even get close.
I lived in Vancouver, where they film so many things. So it gave me a good shot at it.
Every film is a puzzle really, from an editorial point of view.
Truthfully, I'm proud of each of my films in a certain way.
It's become very popular in contemporary films to have the twist ending.
I think each film should be regarded as its own specific text.
The period from 2001 to 2005 was really tough. My films were not working even though there was an acceptance of a model. I was depressed but did not cry. I cry when I am happy.
I'm developing a record company. I'm learning how to supervise music on a film.
If you don't generate tension in the film to begin with... you can't really make a purse out of a sow's ear, you know.
Yeah, I'd like to get the girl and at least make it through the film.
I was speaking to Ridley Scott the other day and he makes a film every 18 months. He's amazing really.
The difficulty with the present state of affairs is that there is no legislation on the sources of funding for the Polish film industry. There is no legislation concerning filmmaking. And, there is no legislation on television that would be beneficial to filmmaking.
The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.
In Tim's films, more than most, if you miss the tone, you don't get the film.
When you come to do the film, it is not the time to wonder why you do it. It's just how to do it
If 'Trek' is a hit, we'd love to do a series of films - a regular event. Look at James Bond's films. They've been around since the early sixties.
There was a moment in the early '80s when I wanted to work on films and wanted to live in L.A.
My private life has nothing to do with my films.
Film is a lark to me - thank God I don't have to make a living from it.
I love the film route and I'm gong to try my hardest to stay on it.
I'm glad movies aren't going to please everybody, they can't. But what they have to be is recognisable. I don't equate myself with a master painter, but I think you can recognise my films.
I think everyone goes through chapters in their life and there was a time when I wasn't feeling terribly positive about what I was contributing to film, or wasn't feeling as if I was going in the direction I wanted and I re-evaluated what I was doing.
I always prefer the big laugh. That is always the objective, especially with a film like Scary Movie 2
Writing and directing your own film, for me, has been the best experience of my life.
I'm not looking for a challenge, necessarily. I'm looking to make a really great film.
I'm not prejudiced about what type of movies I'm in, what form they take or whether they're studio or independent. I just want to make films that are going to be good. The main reason is not to make money, although at some points it's really difficult when you're broke.
Film acting is one of the only industries where you're criticized for working hard. In any other industry, it's considered a quality and something to behold.
Mr. Smith Goes to Washington is one of the greatest films of all time
I was definitely surprised when Talk Radio took off as a play. As a film it has become somewhere between a popular thing and a cult thing.
I love film. I am very blessed to be making movies.
There are some films that really break the mold, and some films that don't. I've been looking for films that break the mold a bit.
I don't like alien films where you don't get to see the aliens.
Well the Bombay film wasn't always like how it is now. It did have a local industry. There were realistic films made on local scenes. But it gradually changed over the years.
I always sort of create practical problems so that I don't have to see a film I've just done. I'm too vulnerable, too fragile. People see your work, and there's nothing you can do. You're completely exposed.
I would love for film to go back to those days where you had to be able to do everything just to get by.
I loved DreamWorks and Pixar, and I still love kids films.
Even The Impostors, as silly as it is, is a very intimate film, in a way.
Filmmakers are going to make films, just like painters are going to paint.
You don't want to be starting a film not knowing what you want to do.
Getting your screenplay right is the most important thing you'll ever do on your film.
I always take hundreds and hundreds of pictures. I used to work for 'National Geographic,' and they gave us a lot of film.
I found it very difficult to explain to someone why you did a film. It's not like having a conversation.
I've watched films and even forgotten I'm in them.