Films Quotes

I prefer working on films. I like the variety. There is nothing better than playing a bad girl for two months, then playing someone sweet for the next two. Films give you this opportunity.

The person that made me want to make movies, and the reason I do films, is Bruce Lee. He was an incredible actor, and he had a lot of charisma. Handsome, action, you know, everything was there. I loved Bruce Lee.

Even if there are a lot women in films, there are few who are lesbians, that people know about.

It's the opposite journey from what I've usually done with films. I find it very easy to go from, say, a lit, pleasurable environment, like what you see outside there, to a very dark place. But the opposite journey, which is what this movie takes, is much more complicated.

My films play only in Bengal, and my audience is the educated middle class in the cities and small towns. They also play in Bombay, Madras and Delhi where there is a Bengali population.

I like making films about old people because they are repositories of amazing stories that they tell well. And they're incredibly good telly.

You become very angry and depressed that you keep getting offered only these exceedingly demure and repressed roles. They're so not me. That's why films like Fight Club were so important to me because I think I confounded certain stereotypes and limited perceptions of what I could do as an actress.

A lot of my friends aren't working, especially since fewer films are being made now and there's more competition.

I'm glad that my films have been consistently faring well rather than one stray Friday!

As far as I was concerned, either I was a homosexual or I wasn't, so making films would change nothing.

I've liked most of the films that I've been in and those are the kinds of films I like to see.

The Sand Pebbles has always been one of my favorite films, I suppose because its the most difficult film - from a physical and logistical standpoint - that I've ever made.

I mean, in my - and I'm not trying to do spilled milk, but in those days it was a little - I think it was much tougher, because you got an image, and you were in a saloon. And it was tough to come out of a saloon and to get in films, and to maintain an image, you know.

All of a sudden, there are great Japanese films, or great Italian films, or great Australian films. It's usually because there are a number of people that cross-pollinated each other.

Sometimes a director is making three films. Perhaps he is shooting a film in Madras and a film in Bombay and he can't leave Madras as some shooting has to be done, so he directs by telephone. The shooting takes place. On schedule.

I think we have the wrong notion of commercial and intellectual or artistic film. Because all films are commercial.

First of all, you look at Rocky films now, and if that isn't a cartoon series there isn't any cartoon series. I mean there's no way anybody is going to take that amount of punishment in fifteen rounds.

The thing I've come to learn is that what's great about small independent films is the intimacy and the communication that occurs when you're making them.

My family don't watch a lot of what I do. Films are a bit too arty-farty for them, certainly the ones I do!

Most of the animated films I watched, the emotions are all prepackaged like canned music, the hand actions, the sighs.

I think one of my very favorite films of all time was with Peter Sellers when he played Chauncey, the gardener. Being There.

I really liked 'Starter For Ten' because I grew up watching 1980s teen films like 'St. Elmo's Fire' and 'The Breakfast Club' and I've always wanted to play the underdog lead hero in a 1980s-inspired film.

The key fact missed most often by social scientists utilizing documentary films for data, is this: documentary films are not found or reported things; they're made things.

I was a bartender in New York and I overheard this girl saying she made $3000 doing a commercial. A kid at work told me, 'Hey, I know this director and he'd really like you!'. So I walked into this guy's office and was like 'I was thinking maybe I could make $3000' and he hired me for commercials, short films, like 15 jobs in a row.

John Huston was a superb master. He knew how to make good films. I did three things with him. One is called Independence. It plays in Philadelphia, for free. It's been playing there for 25 years.

I find the most interesting and most daring scripts tend to be for independent films.

You know, 20 years... the films of television when it started, the literature, radio in communist countries, they're clean as a whistle; there was no violence, no sex, no drugs, nothing.

I've been really fortunate to be able to do different kinds of films in different scales, different genres, different kinds of roles, and that is important to me.

I worked for Sam Peckinpah on quite a bit of action in his films, and he got excited once in a while.

With today's fast films, you can light the way your eye sees the scene. You can abuse the film and create subtleties in contrast with light and exposure, diffusion and filters. That's what makes it an art.