Quotes About Film

The process of composing the film score for each movie is completely different. They all have their own personality and their own completely different life, but there's never been a formula. Each time, it's a new thing.

Well, there are three different processes of making a film, of course. They're sort of re-written three times. You write it to start with, and then you shoot it and you re-write it while shooting and you sort of re-write it as you edit.

Before I made 'Sweetback,' I had a three-picture deal with Columbia and enough juice, if I was real clever with it, to proclaim that I wanted to do an independent film.

I'd like to continue to act and also produce.

It is up to us to produce better-quality movies.

I don't want to produce anymore small or independent movies because it's just too hard these days.

Look at it this way: if you write the novel of 'Cold Mountain,' it costs exactly the same to produce and market as a novel set in a room. If you make the film, the disparity of costs is huge.

I remember being on film sets when I was younger, and only men got to do the cool action movies. So I thought, 'Maybe I'll get to produce one day and get to do cool stuff, too,' which is what happened when we did 'Charlie's Angels'.

I would love to say to all Americans: 'Each candidate is going to produce a film of an hour and a half. You're going to watch one from each candidate, and then you're going to vote!'

I worked for Oprah Winfrey for two years right out of college in 2004. I was a director's assistant on the film 'Their Eyes Were Watching God,' which Oprah produced.

'To the Bone' is autobiographical. It's written and directed by a woman; it's starring all women, apart from me and Keanu, who are in lesser parts, and it's produced by women.

I grew up watching American films, listening to American music, and it's a big contribution to the rest of the world. I mean, American jazz, for me, is the best thing culturally that America has produced.

I played an artist in a comedy called 'Rooster.' It was a zany film by Glen Larson, a friend who produced several successful television series including 'Magnum PI.'

So much of the downstream revenue is linked to that initial excitement, to how much revenue is produced in the domestic box office. For example, what we pay for a film three years later is highly correlated to how well it did in the box office.

I actually did work and produced two short dissertations, one on Faulkner and one on the film criticism of the stream-of-consciousness novelist Dorothy Richardson.

Film isn't a meritocracy; there's no system ensuring the best screenplays get produced. It's a hustle.

You have to pace yourself. As a producer, you start with a concept and shepherd it through the script to the delivery of the film. It's a very long journey for an hour and 40 minutes of movie.

We had some marvelous outtakes, but the producer had destroyed them all.

The best thing about being a film producer is I get to spend 99 per cent of my time behind the scenes.

I'm trying to learn things behind the camera and what a producer does and shadowing the directors.

I had no intention of being a film producer, and I knew I wasn't passionate about engineering. I was always set on having my own business, controlling my own destiny.

Vidhu Vinod Chopra, who has produced my earlier films, is still a part of 'PK' and is presenting it. He is not a hands-on producer - he used to put a certain amount in the bank and give me the cheque book.

When I'm on a picture, I have two bosses - the director and the producer. My co-star is not my boss.

I'm developing some screenplays at the moment with my Australian producer.