Quotes About Film

Whenever I start a 'Potter' film, I get these dreams. The last dream I had, I was in a war and the sky was blotted with broomsticks and I couldn't find my wand. It was so intense. I always have mental, intense, war wizard dreams when I'm doing the films.

I will not cut my film because, because, because, because of the Wonderful Wizard of Oz.

I've played 'The Wizard of Oz' for my kids, but by today's standards, it seems really long. I don't know if there's enough action in it for them. And there's the whole black-and-white sequence in the beginning where she's on a farm. It takes a while to get to the colored part, and then it gets more exciting, and things start to happen.

The fact is that 'The Wizard Of Oz' has never really worked in the theatre. The film has one or two holes where, in the theatre, you need a song. For example, there's nothing for either of the two witches to sing.

I really woke up one morning and said, you know, 'I haven't seen a good film about the American Revolution. And all the ones I have seen haven't been successful, but I'm going to make a successful one.' Well, I wasn't able to do that.

If you think about 'The Matrix' and how high-concept it was, it had these incredible ideas that really penetrated people's consciousness. It really was a film of awakening. I think a lot of people woke up around that film.

The No. 1 place I've visited so far was Antwerp, Belgium. That was one of the coolest cities I've ever seen. Every day I woke up, I felt like I was in a movie.

If I looked good in 'Wolf of Wall Street,' I cannot take full credit; it was because of the hair extensions and makeup.

Once I tried to do Jack London's 'Sea Wolf' as a picture. I wanted to film most of the scenes at sea but ran into opposition from those who wanted studio sets.

Pop managers are fixed in the dramatic stock character repertoire too, ever since the first British pop film musical, Wolf Mankowitz's 'Expresso Bongo' of 1959, with Cliff Richard as Bongo Herbert and Laurence Harvey as his manager. The key components were cast as X parts gay, X parts Jewish and triple X opportunistic.

Cristin Milioti! Who you might know from 'How I Met Your Mother' or 'The Wolf of Wall Street.' A pure delight.

When you have Liam Neeson in a film, no matter how good everyone else is, it's a Liam Neeson film. And if there's wolves, and you're running, it's about Liam Neeson running from wolves.

I feel very fortunate that I was able to be cast in roles that showed the humanity, if you will, of usually stereotypical Indian characters that made up a lot of film, like the Pawnee in 'Dances with Wolves.'

At times, you're welcome, depending on what's being cast. 'Dances with Wolves' - they wanted authentic-looking Indians in the film, and so they got it. The same was true with 'The Last of the Mohicans' and 'Geronimo.'

Why should a horror film be just a horror film? To me, The Company of Wolves is a fairy tale; it's got all those elements plus a lot more. And we know that fairy tales aren't innocent any more.

In fiction film, there are so many trappings - money, glory, champagne and supermodels - that attract the wolves. But in documentary film, there's none of that, so the wolves stay away. The only people who make docs are people who are curious about other people and just like making documentaries.

Over 55% of all shots using animals in 'The Hobbit' are in fact computer generated; this includes horses, ponies, rabbits, hedgehogs, birds, deer, elk, mice, wild boars and wolves.

I remember, at the Oscars in 1991, 'Dances with Wolves' won that year, and we were nominated for 'Goodfellas.' One of my peers said to me, 'Why'd you make that bad jump cut?' I said, 'Which one? We had about 20 in the film!' He was really upset about it.

I think I made essential a mistake in staying in movies, because I - but it's a mistake I can't regret, because it's like saying, 'I shouldn't have stayed married to that woman, but I did because I love her.'

I'm not interested in seeing a film just made by a woman - not unless she is looking for new images.

I said to Martin Scorsese, 'When are you going to make another film with a woman at the center?'

I want to show how strong and smart women are. We go through so much. We need to see that on screen. Those female parts are not many, but they are out there, and I have to find some. I want that chance.

The whole thing about making films in an organic film on location is that it's not all about characters, relationships and themes, it's also about place and the poetry of place. It's about the spirit of what you find, the accidents of what you stumble across.

Film scores are often based on short themes, and it helps if you've got some way of developing these themes and making them sometimes last 4 minutes and sometimes last 40 seconds. One ends up doing it subconsciously.