Quotes About Film

Ecstasy is not really part of the scene we can do on celluloid.

Controversies are part and parcel of making a big film.

Wearing heavy jewelry and make-up is a part and parcel of Indian films.

For me, actors have to have a character, an aura, body language. They're not models. They used to call actors models. But I want them to participate in the film.

Once into films, an actress can't say that she would only take on particular kind of roles.

I didn't have any fixed goals when I joined the film industry. I don't particularly feel 'successful,' but I am grateful that my career is going well.

Even though some of the films I've made haven't been particularly commercial, I don't find them failures.

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.

Many from Peshawar starred in our film industry and Lahore too was the hub of films before the Partition.

As I was looking through a book about German Expressionist films and their stars, it all came together because of the extreme way actors made their faces up in those early day of film in order to pop out in the black-and-white. I just wanted to use makeup in the same way, partly perhaps because as women get older, they're told to wear less makeup.

In the first years after 1989, films were partly financed from the state's budget as well as by public television. Still, except for a few special cases, most films are made this way.

A director has to be on the set when the crew is called and is the last one to leave at night. I'm not saying it's not possible, but that's partly why we're not seeing more women.

I started with the fantasy film, 'Goopy Gyne Bagha Byne.' It was a film to be seen to be believed. It was made in 1968. It was partly colored and was made with huge sets, created in a Kolkata studio.

When I was in college, I wanted to study film. My first passion was to be a cinematographer. So maybe there's something innate in my music where it partners well with images.

I went to Columbia film school; that's where I met Matthew Weisman. We then became writing partners, graduated, and moved out to Los Angeles. I didn't know a soul.

It's interesting going between small parts and then bigger roles where you carry the film. If the writing is good, and if the people involved have integrity, then you'll do it, even if it's only five minutes on screen.

When I started acting, there were parts in English that I thought I just had to try it out and go to another country. I did a film in Ireland. It was my first film abroad.

For all its flaws, 'The Hands of Orlac' really is a seminal film, and if you're partial to that particular B-movie subgenre of Demon Body Parts, you really ought to see it.

You know, Mamet is not a huge writer of female parts. Most of his movies don't even have women in them, so I'm lucky I'm in it at all.

We shot 'Party Girl' on film, and I remember being told, 'We need to get this in two takes because we don't have a lot of film in the mag right now!'

All my films were based on sensitive issues, and they were passed without any problems. I give full credit to the Censor Board for being capable enough to do their work well.

There are characters in movies who I call 'film characters.' They don't exist in real life. They exist to play out a scenario. They can be in fantastic films, but they are not real characters what happens to them is not lifelike.

Film's hard when you don't have any relationship with the director at all and you just show up. Then you really are just a gun for hire.

Jimmy Stewart wrote to my father on December 31, 1946, "More important than anything, thank you for giving us that idea, which I think is the best one that anyone has had for a long time. It was an inspiration for everyone concerned with the picture to work in it, because everyone seemed to feel that the fundamental story was so sound and right, and that story was yours, and you should be justly proud of it.