Quotes About Film

Nobody told me there was any idea for a sequel to 'The Exorcist.' But my agent called me to tell me they were going to do it, and there was a part for me. I said, 'But I died in the first film.' 'Well,' he told me, 'this is from the early days of Father Merrin's life.' I told him I just didn't want to do it again.

If you see a bad live action film, what are the conclusions you draw? Typically, it is that they made a bunch of mistakes, a bad script, wrong casting. You get into 2D, and you get a few films that are not strong films. And what is the conclusion? That it's 2D? I beg to differ. It's a convenient excuse, but it's just wrong.

I want the chance to play very different characters, and I've always wanted to do more films.

The joy of making a genre film is that you have audiences in that place, and it's a perfect place to start because all it takes is finding ways to startle them out of that complacency and encourage a different kind of engagement.

When you're doing a different kind of film, you have to bring a different kind of attitude; you have to bring a different kind of concentration.

While watching him work on the set of the film based on my life - Patch Adams - I saw that whenever there was a stressful moment, Robin would tap into his improvisation style to lighten the mood of cast and crew.

Male filmmakers only need to tap their female selves in order to develop their female gaze as many great filmmakers have done. But why is it important to do so? Because the world has been run by aggressive males and landed itself in a fine mess.

On Saturday afternoons, there was a film, of course, and then we did about four shows between the films. And I would do a tap dance, a little military tap.

I'm really fond of 'Real Life' because I think it anticipated a whole movement. And people forget, they talk about 'Spinal Tap,' but that wasn't... this was a mockumentary a long time before that. It was one of the early, early sort of mockumentaries.

I was in the pilot for Spinal Tap before it was a movie.

That was Embassy Pictures, they went bankrupt shortly after This is Spinal Tap came out.

As a runner on a film, you are the lowest of the low, and yet you have incredible access to everyone. I can totally imagine that for actors in the middle of a Hollywood bubble, all they really want is a sense of normality, and that gopher can be a tap for that.

I don't think we've ever known what the hell's going on when we do Tap shows. It's possible the audience are effectively getting to see more of the movie when we play. You know, they know the songs, so anything we do onstage, whether we're meaning to or not, is an extension of the film. Other than that, I wouldn't understand what's going on.

'Spinal Tap' is interesting because it created a genre of film and ended it - all in one motion. If you do a mockumentary, you are always going to be compared with that film, and you are never going to be as funny.

I saw 'Purple Rain' in the summer of '84, and, 'Spinal Tap' notwithstanding, it's the greatest rock & roll film of all time. There's so much Prince coming at you that you have to remind yourself he's also a breathtaking guitar player.

'This is Spinal Tap' was a film we felt really had to be done like that. It wouldn't have worked any other way. And it turned out to be the first time a fiction film had really been made in a documentary format. I continued to do that, obviously, because it's a fun way to work.

It occurred to me that by naming the film itself 'Dear White People,' I could tap into the burgeoning meme culture as well as make a meta-commentary about the controversies within the film.

Every four or five films we've made a film that has gone on TV first. It's quite nice to tap into the TV audience, but it is nice to see it on the big screen too.

So if I keep making mistakes on Broadway or tape or film, producing, directing or acting, I can go along and do it - so long as I'm not investing too much capital in these things.

Now that I can edit the whole thing on AVID and edit the whole thing on tape, maybe I will do the next digitally, because maybe the quality will become less obvious between tape and film.

The world may not be ready yet for the film equivalent of books on tape, but this peculiar phenomenon has arrived in the form of the film adaptation of J. K. Rowling's 'Harry Potter and the Sorcerer's Stone.'

I love auditioning on tape because you have the time and the freedom to work on it, a little bit. A lot of film is slightly dependent on what your composition is and what your lighting is.

I was shooting for 'Maaya' when I got a call from John Abraham's office. They told me about the film and asked if I could audition. But since I was shooting, I recorded my audition and sent them the tapes. The next thing I know, I was on board.

I loved the Oscars, and I had V.H.S. tapes for the Oscars, and I used to watch them over and over. There was probably one year where I watched it, like, 20 times or something.