Film Quotes

When we shoot 24, there are so many things I have to worry about, from the script to technical things to my performance, that I don't have a second to be bored or take anything for granted. We produce 24 hours of film a season, which is like making 12 movies.

I don't see a film industry in Germany. They have a great TV culture, but how many German films are really exciting?

'Marnie' was ahead of its time. People didn't talk about childhood and its effects on adult life. It was taboo to discuss sexuality and psychology and to put all that into a film was shocking.

And I'm auditioning right now for a movie, and then I have a script that I'm reading right now for a horror film, and I'm meeting for a couple of television shows that I just had yesterday, and pretty much was offered one of them.

I can't do the same movies all my life. I'm conscious of that. But it's a trade-off. 'Dear John' allowed me to do movies I've wanted to do. You learn to balance it out. I'm still learning. Only now am I getting to do the kinds of movies that I have wanted to do. So it's a steady climb. You don't jump into a Soderbergh film.

I always prefer the big laugh. That is always the objective, especially with a film like Scary Movie 2.

I had lived in Fukuoka during the mid 1990s, and I was a volunteer with the Fukuoka Asian Film Festival.

And friends of mine that had photography class in high school would develop the film and make prints and I'd take them back to the track and give 'em away or try and sell them. Much to my parents' dismay, I majored in photography in college.

We wanted to make sure that the film covered the main issues of his life. Musicianship, appearance.

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 don't think you should feel about a film. You should feel about a woman, not a movie. You can't kiss a movie.

I guess I've been fortunate in having an ongoing film career while being based in Melbourne. I'm happy to commute. A day on a plane. Come on. It's easy.

I think everybody dreamt somehow to make a film in Hollywood, you know.

I bled a lot. I got hit across the face. We couldn't film for seven days. I got hit, whacked, underwater, across the face. I finished the shot, got into the boat and blood started coming out.

'The Movie' is something that I made with some friends of mine in L.A. My friend, Luke Eberl, is the filmmaker. He shot this movie and asked a bunch of his friends to be involved with it. I just saw him the other day and there is no money to finish the film. But, you know, I literally have a cameo in it.

I do believe, and I will always believe, that Shakespeare on film is really something that should be tried more often because it is an opportunity to take the humanity that Shakespeare writes into characters and express it.

I feel like I have to top myself every film I do, and it gets hard.

I'm not going to live my life unhappy and why should he and we talk about it and I think what's great about the film is that it shows is the meaning of family doesn't have to be as traditional as it once was, like you can make a family.

I would love to work in a Bollywood film as there is so much drama and colour in the films there.

A lot of times when I've been offered film series and stuff, if they shoot in Los Angeles, I lose interest.

Altman works in such an interesting way, letting things occur in the film even if he didn't particularly plan them.

If you stick with a vision, it might not all work, but some of it will be absolute genius. To me, 15 minutes worth of absolute genius in a film is so much better than two hours of mediocrity. I would rather pay to see something different like that.

And even Moonstruck - for some reason the audience were just in the mood for a very romantic film, because it's one of the few romantic comedies to be nominated for a Best Picture Oscar.

I'd like to do a piece of Shakespeare. Any upcoming Shakespeare film. Just a bit to say I did a classic.

After I did nine years of a television series, I didn't want to do anything really that involved going to a set and being in front of a camera for quite a while. And when I did start to want to do things, I wanted to focus more on film.

I don't believe in having body doubles for a film.

I'm sure some people will say, 'Why do this?' And my response is, 'Why wouldn't you?' The film business in general is using a model that is outdated and, worse than that, inefficient.

Well, you know I have an office, my film offices. So I know that syndrome. I fancy offices, so there must be something wrong with me. Even the window cleaner intrigues me. It's a very sexy environment.

If you're lucky enough to be involved in a film that's about something very real and that you hope will continue to hold up in 20 years' time it just gives you more energy and makes it feel all the more worthwhile.

When I made my first film, I didn't think of it as directing, so it wasn't like I set out to become a director.