Film Quotes

I started to shortcircuit because I had high aspirations for the film. I never told anybody that.

The length of a film should be directly related to the endurance of the human bladder.

Part of the film business is, if you want an apple, you buy an apple.

There's the soundtrack to The French Connection II'I think It's my favorite soundtrack. It hasn't been released. I actually had to go and get the film and just make a recording of it to get the music.

And if you're a golfer and you watch a golf film and Matt Damon swing, and it's not great, then you're not going to believe in the golf story, you're not going to believe in the rest of the film. That's the whole movie, so if that swing looks like crap, the movie's crap.

People think I'm against critics because they are negative to my work. That's not what bothers me. What bothers me is they didn't see the work. I have seen critics print stuff about stuff I cut out of the film before we ran it. So don't tell me about critics.

I've always been very left of center and the radio never had much diversity and film did.

Film is one of the three universal languages, the other two: mathematics and music.

I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.

There is no filmmaking legislation because distributors are not interested in sharing their money with the film industry - for instance, by giving a percentage of ticket sales back to filmmakers.

Clearly any film company that makes a film is always going to talk about sequels particularly if they see something as being successful, which Werewolf was.

I write for film or, in this case, television when I haven't got a play cooking.

It's hard to be surprised by a film. It's hard to be surprised by another actor or by a director when you've seen enough and been around. So when I am, or when I forget that I'm watching someone's movie, or when I don't know how someone made a certain turn that I didn't expect . . . You know, I'm in.

There is also an artistic element which is lead by the film maker. Issues of what is reality and objectivity are as always relevant as someone is going to edit the film.

The necessity to conceptualise has to come very early on, and defining a vector of development for that film also at the beginning of the process will allow you much more freedom as you go along.

I was a little bit wary of playing Nicholas. In the script, which I think is true of the novel and the film, he's the only character not singing and dancing in a musical style. Playing someone who is the personification of good is a little difficult.

Whether it's making a film or raising my children, personally I'm striving to do the right things and to learn.

Fundamentally, whether directing in the theatre or a film, you have to be a good storyteller, regardless of the form. The thing I had to work hardest at was thinking in shots.

I haven't done a lot of things in my career that my kids can watch, because they are 8, 6 and 3, and they are pretty young; so given the concepts that the film was about a superhero, it was a black superhero, and it was a father and son type partnership.

I've had a lot of experience in independent film, and about how to choose. You've got to be very discerning about where you put your five bucks, and where you cut and what you don't cut.

Now, it's almost impossible to go out and do a film about a new form of music.

You can act in five, six, or seven films in the time it takes to direct one film.

I despise the phony, fancy-pants rhetoric of professors aping jargon-filled European locutions - which have blighted academic film criticism for over 30 years.

I'm a private person too, and we don't ever film anything in our home because it's off limits. It's like letting people see your messy house.

When you film a reality show, it's so jumbled. They shoot episodes in all orders!

As I got older, with my work, I became aware of the responsibility of film, and I feel one of the best ways I can apply myself as an actor, is to go beyond movie stardom and celebrity.

Whereas money is a means to an end for a filmmaker, to the corporate mind money is the end. Right now, I think independent film is very confused, because there's excess pressure in the marketplace for entertainment to pay off.

In animation, there's this exhilarating moment of discovery when you see the film and you say, Oh THAT'S what I was doing.

If you were in the film industry at that time, you were always picked up by directors who were much older. You were whisked about and shown things. I did work very hard though.

I've done movies with a sword before. But I haven't really been given the full responsibility of something like a Ridley Scott film.