Quotes About Film

I was in Hiroshima with my assistant, and I said to him, 'You know, I've done close to a thousand shows with Yes. I think I'm done. I don't think I can do another one.' I went back to L.A. and left the band and got into film.

I know the best moments can never be captured on film, even as I spend nearly half my life trying to do just that.

If California is a state of mind, Hollywood is where you take its temperature. There is a peculiar sense in which this city existing mainly on film and tape is our national capital, alas, and not just the capital of California. It's the place where our children learn how and what to dream and where everything happens just before, or just after, it happens to us.

In the modern media age we are rarely surprised by what we see. Whether it's on television or film or in the theatre, everything is so advertised, so trailed, that most entertainment is merely what you thought it was going to be like.

A good documentary or educational film is not raw experience. The material has passed the mill of reason, it has been sifted and interpreted.

For me the stunts are so cool, they're one of my favourite things when we're doing the film.

It was the sort of situation that would be ever so charming and warmly human in a film with Peter Ustinov and Maggie Smith but that sort of film is only charming because they leave out so many details, and real life is all the details they leave out.

If you had watched any of those three wonderful films, you would have caught Vampire Gym Teacher # 2: Back to Cruel, where the vampire hunter ties a vampire chick to the shower and tortures her by turning on the water. They can"t stand water, even if it"s not holy water.

Film work is a job I like to do because I really love to solve problems.

Literature and film in my opinion are like saloons where bottles have no labels. I want to taste each one myself and figure out which is what. If I'm denied this by labelling, then my entertainment is considerably lessened.

Language itself had lost its solidity; it had become thin, contingent, slippery, a viscid film on which he was sliding around like an eyeball on a plate. An eyeball that could still see, however. That was the trouble.

A movie about the past is not the same as the past.

New technology is changing the way we can film. It's enabling us to get fresh new images and tell brand new stories.

Film is the only technology that allows us to share subjectivity with someone else.

I don't get tripped up in technology. I use technology as a tool. 'Oldboy' we shot Two Pro 35mm. For 'Da Blood of Jesus,' we shot digitally. We shot the new Sony F55. It's a 4K camera.

The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.

Polar Express is not an attempt to do animation. It is a technology-based film.

You can shoot and edit a movie from your iPhone and upload it to YouTube. Of course, what's not universal is talent. Are you making anything that anyone really should see?

Performance capture is a technology, not a genre; it's just another way of recording an actor's performance.

Animation has always been about technology. You can't have animation without technology.

It's difficult to keep anything fresh for an audience these days. With technology being what it is people seem to know everything there is to know about a film before you've even made it.

I think technology is having a democratising effect on film.

In film and television you have to be able to see the whole picture in a different way than you do on the stage because you shoot out of order and you're working with technology.

I look at a picture like Scarecrow and think, 'Jesus, how could they have let us make that?' I mean, if you used technology that old nowadays, it would look like old Hollywood.