Quotes About Film

If I wanted to do TV full-time, 'Breaking Bad' is definitely the type of project I would want to do. But TV is not my favorite thing in the world. I definitely want to focus on film. It's what I grew up loving. It's always been about movies, movies, movies, movies, movies. I really want to make great films.

I don't miss film projecting. I always hated it.

I came rather late to film. I've done an awful lot of theater before - before I discovered the camera, you know, seeing everything, requiring much less acting and - and much less presentation, much less projecting, more just being.

We do like digital projection. We like shooting on film, finishing digitally, and projection digitally. That's what I like best. It's still a movie. It's not someone's camcorder and it got projected. That's mean, I know.

Hopefully with digital projection, a film will always look the way the filmmaker intended.

I, over the years, have always felt more comfortable if I could go into a projection room and look at a film and not really know what to expect. If you read the script first, you form all kinds of preconceptions about how things look, what the location's like, what the actors are like.

Film is my hobby, so I will work well through the night to develop films, whatever film I'm doing or dream projects I have.

I really liked doing a number of the projects and directors, and etc., etc., I knew about half-way through that I would never be doing that again. It's just not me. I really am happy as a part-time film composer, not a full-time film composer.

I've been producing projects, and I hope that It's inevitable one day that I direct a film. I have a lot of things I want to do.

I already have a production company called J Squared and we're working on two projects.

I don't like to see projects that are all black or all white. It's how life is. I do like to make sure that I do a nice black family film; that's like keeping my home base. I do other things, but I like to always come back to a positive family film, because of all the negative influences today.

I typically don't get into predicting the success of my projects. I've been involved with a lot of projects that I thought should have really gained notoriety and furthered my career, only to be met with the cold grasp of disappointment. So I typically stay away from predicting how a film will do.

In general, a film's delay is disheartening for actors, but it's harder on the director and the producer who have been on the project for longer than anyone else. While actors move on to other projects, the film's makers don't.

Well, a special screening was set up for government officials, so they didn't have to see the experience of going to see the film. They certainly aren't going to the projects to see for themselves the situation.

I'm interested not just in projects that I'll be starring in, but producing film and TV that's really quality and great for adults; and when I say 'great for adults,' it doesn't mean without humor, because I'm also interested in doing comedy.

Should 50 per cent of Telefilm's projects be helmed, produced, or written by women? I think so.

During prom season, I travel around the country with a 20-by-24 camera - which is logistically complicated - and photograph proms. My husband made a film of it.

When you do a film with somebody who's my age - which is always the role of a mother or a grandmother - despite of well-defined characters, you don't get to play a very large part as the main leads get prominence.

Every film you're commissioned to write is all about an arc; usually, the arc is that the world creates a change in the character, usually for the better. To not have an arc, the messages and ideas in the film became more prominent.

There's no certain type of cinema, but there's a certain type of promise every film comes with. The agenda is to keep an eye on quality and live up to that promise.

The Chinese government promised Hong Kong '50 years, and change.' And 50 years later, after 1997, will be 2046; I think, 'Well, that's a very interesting promise.' So I want to make a film about promise.

There was a Yugoslav film about partisans that I've done the music for, and then I've promised to score a French film called 'Biribi' about detention camps at the turn of the century.

In my 41 years of experience in our film industry I've noticed that people make a lot of promises in the evening which they promptly forget in the morning.

Directors should be paid for promising impossible things.