Quotes About Film

Some producers hang-on to that old cliche that if the audience hears the music, it is no good. I say this is so much talk. Music gives the film another dimension, if it's done with the story in mind.

I'm certainly no Cleopatra. I have legs like a schoolgirl and I don't know how I acquired the knack of attracting producers with very attractive offers for very attractive film roles.

I always want to work with a good director who's backed by excellent producers.

Marathi film producers conveniently blame the audience. If there are 70-odd flops in a year, there are a few that are hit because the same audience comes to the theatres.

I didn't watch a film after the 1960s. I have no idea who all were the good heroes, directors or producers in the '80s. The only film I watched after all those years was my own film.

Stupidly, in our industry, producers pay precious money to sign stars whom they might not even use in the film. Producers believe stars make hits; actually it is the script that makes a film successful.

I have a great team. A lot of my focus every day is with my television and film career, directing and producing, and I guess you can say that my moonlighting gig is Tropfest. Obviously, when I am not working I am in the Tropfest office full-time.

I've been doing a bit of screenwriting and producing, and even a bit of directing.

I see myself starring in and producing major feature films.

My dream would be producing, maybe directing - definitely not writing - one feature film.

I think I've always wanted to direct, but I didn't go to film school. I was lucky enough to work in movies, and I think those became my film school in terms of acting and watching directors work and also writing and co-writing and producing.

I am the last person who has any judgement about any kind of cinema, least of all commercial cinema because I am a product of commercial cinema.

More often than not, the experience of shooting the movie has been disappointing and the end product has been a mere shadow of what I hoped it would be. But immersing myself in the story - that's what I like best of all.

When you do a voice in an animated film, you don't see the finished product at all. You're not animating. You're not doing the voice on the finished product. You're doing the voice long before.

When you work on a Jerry Bruckheimer film, you can be sure of two things: no production value will be spared, and the catering will be as fine as any really really good restaurant. Jerry is an amazing producer, with a commitment to his films second to none.

'Srimanthudu' is a film very close to my heart. It's my first production, and I'm more than happy with its performance at the box office.

The U.S., especially Hollywood, is so strong for film production.

If we must have the Production Code, then I think the only way to use it effectively is to judge a film as a whole and determine whether its effect is good or bad.

In TV, you're basically shooting an episode in 10 to 14 days; 14 days is a luxury situation. And in film, you have anywhere from a month to three months, or it can be even longer than that, depending on what the production is.

It will never be Hollywood, the same way people think it should be. I think it will grow and it will be healthy and it will expand into more than one production house.

My first film goes into production in October. It's called White Boy Shuffle and it's based on a novel about a young black kid and it's sort of reminiscent of Catcher in the Rye.

There's something about taking a film from concept to script, through production, and then to see the final thing happening in the edit phase. It's almost like a miracle in the making.

I have a lot of respect for, always dig, the crew. Sometimes a lot more than the cast. But a good run production team is paramount to making a good film. You just can't it done without a good line producer, without creative producers, without people who are making stuff happen.

France has not only built a bureaucratic barrier against American culture, it has constructed a notorious intellectual case against it as well. The French spend hundreds of millions of dollars subsidizing film production, extend interest-free loans to designated filmmakers, and have placed quotas not only on imports but on television time.