Film Quotes

When I was five. That's when I started to love film.

The Company of Wolves doesn't belong in any category, so it's difficult to prepare an audience for it. It's not a horror film, it's not a fantasy film, it's not a children's film - so what is it?

I never, ever want to apologize for a film. If it's bad I'll say it's my fault. And that's what I can say so far in all the films that I've done, that if you don't like it, it's entirely my fault.

I began to realise that film sees the world differently than the human eye, and that sometimes those differences can make a photograph more powerful than what you actually observed.

I like songs and film because you can turn your life into a sort of myth or dream.

Eventually, in '84, we made a film for a little over a million dollars - with American actors that was shot in English - that was shown in Finland A little action film called Born American.

The film world is a crazy place to be. You sit around all day waiting for the phone to ring. Are people talking about you or aren't they?

A film's success or failure is strictly on the director's shoulders.

I worked on a film short with Frank Sinatra when I was a kid.

When James Cameron brought me the script, which I developed with both Cameron and Jay Cocks, I wanted to make it a thriller, an action film, but with a conscience, and I found that it had elements of social realism.

I saw a very good Hollywood film the other day. It was about Cole Porter.

In this film, we took a helicopter up and showed London as a vista, which is not very often done.

Before she married my father, my mother was a film reviewer for The Akron Beacon Journal - a small newspaper.

They're all based on factual characters. Well, a good amount of them. That's why I was attracted to this genre anyways, because these characters are so large and cartoonish, they're like caricatures, I just felt that there had to be a film made about them.

I'm not interested in making a $60-million studio film with a bunch of 24-year-olds telling me what to do.

I began to exercise a lot of cinematic muscle with the precepts I had learned in the New York art world. Film was intriguing. I began to think of art as elitist; film was not.

People feel the worst film I made was 'Jack.' But to this day, when I get checks from old movies I've made, 'Jack' is one of the biggest ones. No one knows that. If people hate the movie, they hate the movie. I just wanted to work with Robin Williams.

My husband. He keeps me grounded. If I were in the world on my own, it would all be much more seductive. But I'm in a relationship that has nothing to do with the film world.

Well I would never say to anybody that Warren Beatty got fired, but uh, I think he and Quentin fell out of love, and I think Warren told Quentin to hire me for the film.

Whenever I think of the high salaries we are paid as film actors, I think it is for the travel, the time away, and any trouble you get into through being well known. It's not for the acting, that's for sure.

I think anybody who's famous has to deal with their fame in their own way, and I dealt with it by making a film about a kid who's looking out into the world of celebrity obsession.

This film, Tomb Raider 2, is a big challenge. It's quite exhausting.

But I suppose film is distinctive because of its nature, of its being able to cut through time with editing.

The fact is that you could not be, and still cannot be, a 25-year-old homosexual trying to make it in the British film business or the American film business or even the Italian film business. It just doesn't work and you're going to hit a brick wall at some point.

Then my first film was something called Cannibal Girls, which sounds like a horror movie but was actually kind of a goofy comedy with horror elements. Like a horror spoof.

Originally the film opened with Ryan in the doctor's office, being told his wife is dying. Then we see him walking the streets, and the story is told in flashback.

I don't care if I get $50m to do a film.

I'd love to work with the people who really got the film industry going again through the '70s: Peter Weir, Bruce Beresford, Gillian Armstrong, Fred Schepisi.

When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.

You could get in rehearsals, pre-production, anything that would actually contribute to the understanding of how a film gets made. I actually find those things increase people's interest in a movie and like that better than worrying about showing the tricks behind the curtain.