Quotes About Film

Finally, the breaking up of the scenes into shots and their assemblage is the equivalent of an expressionism

time, a reconstruction of the event according to an artificial and abstract duration: dramatic duration. There is not a single one of these commonly accepted assumptions of the film spectacle that is not challenged by neorealism.

It is at the movies that the only absolutely modern mystery is celebrated.

The film of a painting is an aesthetic symbiosis of screen and painting, as is the lichen of the algae and mushroom. To be annoyed by this is as ridiculous as to condemn the opera on behalf of theater and music.

The Canadian Identity, as it has come to be known, is as elusive as the Sasquatch and Ogopogo. It has animated—and frustrated—generations of statesmen, historians, writers, artists, philosophers, and the National Film Board ... Canada resists easy definition.

My film with Pawan Kalyan sir, 'Vakeel Saab,' came in theatres and collected humongous figures in the first weekend. It was a celebration for people. Then it released on an OTT, and people still watched it, it garnered high TRPs.

I don't think the audience for film or TV is different. I think they are the same people who go out on weekends.

I grew up in Los Angeles. I still remember when I was a junior in high school studying for the SATs. I had my job - I was actually a production assistant on a film - but on weekends, I would finish my prep tests on the beach.

With feature films, it's a one-time judgment once your film is premiered. Reviews, box office, and then you move on to the next project. With TV, you are being rated and judged weekly for an eight-month stretch.

Because record companies do not routinely release sales figures the way film studios do, the weekly charts in trade publications like 'Billboard' provide the best independent measure of record appeal.

Um, 'Soul Food'... Another wonderful little movie that could. Here's a film that, I think our budget was maybe $6 million. We shot it in Chicago in six weeks. I was so proud of the film, because it showed America that an African-American film about family could sell, could do well, could cross over and have true meaning.

The best time to release a film is on a festive date like Divali or Eid, or at a time when there are no big films three to four weeks before or after.

When you do a film, you know you're shooting for 6 or 9 weeks, you've got your cast and crew. Overall, no one can just pull the plug and say, 'This isn't working.' There's just no security on television, especially for African Americans. It's a tough market.

When I was preparing for the film for tree weeks, with David Cronenberg, I had a lady friend come over.

Yes, I got my first Bolex camera a few weeks after being dropped in New York by the United Nations Refugee Organization. That was on October 29th, 1949. With my brother Adolfas, we wanted to make a film about displaced persons, how one feels being uprooted from one's home.

Rarely do I do film press because I'm so low on the food chain of the movie, and for me it's just this thing I did for four weeks before the next tour started.

When you're working on a film, it's not theater; you don't have a few weeks of rehearsal. A lot of times you are showing up on set, and you've never been to the place; you've never met the other actors you're working with.

I would love to live stream them all, so if you're in New York and you come along, you can watch Tropfest N.Y., and six weeks later you are watching Tropfest Arabia or Tropfest Australia live stream, and so they are all connected.

I remember when I took Quentin Tarantino with me to a very private screening of the documentary 'Roman Polanski: Wanted and Desired,' which shows some of the legal irregularities of his case. I was involved by the film, and it was an amazing experience to see people weep at the end of it.

I remember weeping silently in bed after watching 'Titanic.'

I don't think one should attribute the success and failure of a film to a single actor. When you decide to do a film, you weigh the pros and cons before taking a call. Only when you run out of patience, get insecure, and feel your career is heading nowhere do you sign anything that comes your way.

I wanted to be a film composer because I heard scores that could stand alone, from 'Vertigo' to 'Star Wars' to 'La Dolce Vita,' because this music has so much history. They're weighed with the history of music. They come from somewhere, they have a past.

For 'Rakht Charitra,' I had to gain and lose weight. I simultaneously shot the film in three languages - Telugu, Tamil, and Hindi.

One of the things I don't like about film is its incredible immersive quality. It's kind of bullying - it's very big, it's very flashy, it's got a lot of weight and it throws it around almost to the detriment of the rest of our culture.