Quotes About Film

I have never had trouble with any actor being able to visualise things. They are amazing. As long as you have your monster head on a long stick, so you can hold it up there and you can wave it around and let them see it and explain it to them, they are just great.

And my first film was Carnal Knowledge, another amazing experience, largely because of Mike Nichols, who would tell me you can't do anything wrong because you're doing everything right.

I didn't go to film school so my learning was done out in public and showed up on the screen.

I think too many film students in America are losing the artistry and not learning lighting the right way.

There was definitely a learning curve in terms of being on film, but being on a set was all good.

I'm developing a record company. I'm learning how to supervise music on a film.

It's so many different elements to a film. Just learning the ins and outs and how the machine works.

I like hanging around the set and learning how people do things, how the set runs.

Learning about acting for camera is really quite exciting to engage with and deal with.

Everything has its cycle. I think its appropriate for us to be ending now. But the beauty of storytelling, and the beauty of film and television is that it continues on.

It became very clear to the director that it would be foolish not to use our friendship. I had tried to talk to him about it because all the relationships in the film are so, not negative, but antagonistic. There's not a lot of love going around.

Too Clear, too clean. The problem was precision, perfection; the problem was "digitization" which sucked the life out of everything that got smeared through its microscopic mesh. Film, photography, music: dead. "An aesthetic holocaust!

The problem was precision, perfection; the problem was digitization, which sucked the life out of everything that got smeared through its microscopic mesh. Film, photography, music: dead. An aesthetic holocaust! Bennie knew better than to say this stuff aloud.

Lips twitching spasmodically, Devon put me back in the hold, and I did the only thing I could think of to alleviate his guilt and put him in fighting mode for real. "Armani is for mama's boys, and a movie doesn't count as a real film if nothing gets blown up." You're going down, Bronwyn. Them's fighting words.

Acting is fantastic, but to be able to create a whole world on celluloid is amazing. It's like taking your dreams straight from your head and projecting them onto a screen.

I can sit in front of the TV and watch an old romantic film and be transfixed.

My father comes from a generation of film that actors my age don't even know about, which is really sad.

Hollywood is the dream factory, and no one dreams about older women.

they used merkins on shoots to avoid X ratings; prosthetic hair was an R, but real hair was an X.

and de Sica are less spectacular but they are no less determined to do away with montage and to transfer to the screen the continuum of reality.

It is clear to what an extent this neorealism differs from the formal concept which consists of decking out a formal story with touches of reality. As for the technique, properly so called, Ladri di Biciclette, like a lot of other films, was shot in the street with nonprofessional actors but its true merit lies elsewhere: in not betraying the essence of things, in allowing them first of all to exist for their own sakes, freely; it is in loving them in their singular individuality.

it was montage that gave birth to film as an art, setting it apart from mere animated photography, in short, creating a language.

The preoccupation of Rossellini when dealing with the face of the child in Allemania Anno Zero is the exact opposite of that of Kuleshov with the close-up of Mozhukhin. Rossellini is concerned to preserve its mystery.

neorealism runs counter to the traditional categories of spectacle—above all, as regards acting