Quotes About Film

I was definitely nervous turning up on my first day to shoot with Woody Allen.

I did 'Celebrity' by Woody Allen. I did 'The Gingerbread Man' with Robert Altman. These were big talents.

How movies are financed, it's a world market now... I feel like, you know, the independent film way of working is something that was in my bones. It's like being a part of a punk band, but no one's singing punk rock anymore. Only a few bands are able to play, and Woody Allen is one of them.

For a long time now, movie characters have generally been articulate, even chatty. Call it the influence of Woody Allen, but we have become used to characters who are well able to explain themselves to others.

In our house, the word of Louis B. Mayer became the law.

Your internal dialogue has got to be different from what you say. And, you know, in film, hopefully that registers and speaks volumes. It's always the unspoken word and what's happening behind someone's eyes that makes it so rich.

There was one titanic guiding light on the film set, and I was in the presence of a true Mahatma, in the deepest and most profound sense of the word.

Play is a medium of word and film is a medium of picture.

There needs to be more film directors of colour. They bandy about the word 'diversity' a lot, but when I say 'of colour,' I mean Asian, black - I mean people of all colour. We need to have those voices given the opportunity, not told that their films will not be distributed or will not sell well abroad.

Dishonesty in trailers is more than a moral issue, it's a practical one. If you don't deliver in the film what you offered in the trailer, you'll get bad word-of-mouth.

I'm hoping that word-of-mouth on the film - people seeing it and liking it - that that will drive more people to the theaters, because I haven't seen the billboards or the posters or anything.

'Simon' was always a word-of-mouth book. When it came out in 2015, I don't know that anybody thought that 'Simon' could be mainstream. Publisher Harper Collins loved it in-house, but it wasn't a lead title. Nobody is more surprised than me that it's a film. It's the little book that could.

Success of a film released through DTH depends on word-of-mouth publicity.

Where I think the most work needs to be done is behind the camera, not in front of it.

In 2005, I had the great honor of playing Shailene Woodley's mother in 'Felicity: An American Girl Adventure.' I was immediately impressed by her work ethic, both on and off set.

We work hard on every film, and then it's up to the audience whether they like it or not. At the end of the day, it is the audience wish what to accept and what not.

It is possible to work out of New York on film and television and still not lose your connection to theater.

We need to work out who is paying for film; in the U.K., it is increasingly difficult to get production funds - and pre-sales demand more and more shot/cut material.

Oh, 'Step Brothers' is genius. I could watch that film a thousand times.

There are thousands of directors in Hollywood.

In December 2011, I will be opening up my production house, Sharmeen Obaid Films, and aspire to change the way Pakistanis approach nonfiction storytelling. There are thousands of stories to be found here.

In India, thousands of people want to be in the movies because Bollywood plays such a huge role in our lives.

Normally my films have a single thread of an emotion, an insight or one single belief, and then I turn the entire story and build it around that.

People say you should do it this way, someone else suggests that, yes, there's financing, but maybe you should use this actor. And there are the threats, at the end - if you don't do it this way, you'll lose your box office; if you don't do it that way, you'll never get financed again... 35, 40 years of this, you get beat up.