Quotes About Film

'Junglee' was a magical journey. When you see the visuals of the film or the song 'Fakeera,' it reminds you of Dehradun.

I really feel like the proper representation of women, in TV and film, is really important and vital.

The darker the film, the more vital everyone's sense of humor is on set.

I think that marriage of music and picture is so vital, especially in a film that's almost exclusively exteriors.

Silence is absorption, and when you're watching a film and you're that quiet and you're that still, at least from my experience of watching films, that indicates an absorption, where you're really in the moment. You're really present. What you're seeing is vital to you in that moment, and it's tingling, and it's alive, and it matters.

When you lack a certain vitality in the film business, there's no hiding it. It's like you've had your limb chopped off. How do you hide the fact that you're missing an arm?

As the years go by and I make more films, I am increasingly interested in capturing place as a vivid backdrop for my films.

I still vividly remember when I was working in 'Kashmir Ki Kali,' I had no idea about lip-syncing the song 'Diwana Hua Badal' sung by Asha Bhosle and the scene was to be shot in the Dal Lake in Kashmir.

I can't remember a picture that has expressed black attitudes and personal relationships as vividly as we've done in 'Cadence.'

The Prohibition era is so vividly depicted in 'Lawless.' John Hillcoat does a remarkable job of rooting his film in such a tangible reality.

As an actor, I had noticed very vividly that very few directors know how to direct actors because they haven't done it.

The vocabulary of film is camera cuts, it's how they communicate. But games are different. We don't really need to do that. We do it because it's a language that we're familiar with.

A lot of people in film run around with a facade and use the right vocabulary and think they're mental giants, but it's very limiting.

I like the idea of the audience absorbing the language and getting to understand it as they journey through the film. It starts off being more obscure, but you get used to it. A 'Clockwork Orange' thing. I read 'Clockwork Orange' without any vocabulary, and I got to understand the words as I went through it. I like that process. It immerses you.

The colors of 'The Nutcracker' ballet score have become a part of the vocabulary of film music. It's where so much of the 19th-century romantic music that I call upon as a film composer is rooted.

For film and TV, try to have a more conversational tone. For stage, you'll need better diction and bigger vocal production.

As vocal as some people have been about how emotionally attached they've been to celluloid, I've been equally emotional in my stance that nothing is more valuable than this. Than being able to see the result of your work quickly.

Film is something that came later into my life. I had a Jesuit education, and I consider acting and the theater as kind of a calling - a vocation.

Film is very much a universal and common voice, and we can't limit it to one particular culture.

Live-action films are very much a director's medium, and that director is going to be a very strong voice, a stronger individual voice than you'd have in animation.

'Pi' was one of my favorite films growing up because I thought it employed paranoia and voice-over, and also because it used this unreliable narrator in a very fascinating way.

'Taxi Driver' is one of those films that is groundbreaking in how much you're inside this character's head. It uses voice-over in a revolutionary way where the audience is invited as a co-conspirator to the whole story line.

I love reading novels, and I love going to movies, but I kind of hate going to an adaptation of a novel, and it starts off with a voiceover.

I found in making and directing films that the less you have voiceover, the better it is.