Quotes About Film

Olivia Hussey from Zefferelli's 'Romeo and Juliet' makes the intense vulnerability of true love look magnificent.

There is this film called 'La Femme Nikita.' I want to play something like that. This woman with a gun in her hand but with tears in her eyes. I would love to play that kind of vulnerability on screen.

Always changing genres, making very different films is a good idea. It's a way of making yourself feel vulnerable again, getting back to that innocence. As is working within a circumspect budget.

Action films are great, but an action film that has characters that are compelling and a story that people can care about is something even better. We love to see action heroes that are vulnerable, that are sensitive, that are family people, that are accessible.

I always sort of create practical problems so that I don't have to see a film I've just done. I'm too vulnerable, too fragile. People see your work, and there's nothing you can do. You're completely exposed.

Pre-preproduction is the tenuous time before a project is greenlit; before the studio commits to spending real money. This is the most vulnerable period for any film because it's the time when your project is most likely to be put into turnaround. That's film-speak for killed off.

Though I am still very vulnerable to audiences - and it happens all the time - where for some reason the energy doesn't connect and, since the film is very personal, obviously I am made to feel very vulnerable by that.

The best love stories on film are rooted in the point of view of the more woundable, vulnerable party, the more amorous party.

Going to a movie is a two-hour experience; at $7.50 for a ticket, you are valuing your time at far less than the minimum wage. If you don't understand the film, don't leave. If you understand it all too well and hate it, get out of your seat and walk up the aisle. You will feel empowered.

When I played Tonto in 'The Lone Ranger' and was playing the older Tonto, I would just leave the makeup on and go to sleep because it was a four or five hour job; it was, from the waist up, all over me.

There was a point of frustration, where I thought I should just take a film, even though I didn't want to. I was impatient with being at home. But I hung on to the approach I've always had, which is to wait for a project that I could contribute something unique to.

Four hours of makeup, and then an hour to take it off. It's tiring. I go in, I get picked up at two-thirty in the morning, I get there at three. I wait four hours, go through it, ready to work at seven, work all day long for twelve hours, and get it taken off for an hours, go home and go to sleep, and do the same thing again.

The biggest surprise about making a movie has got to be the wait in between takes.

There were some inquiries after I bagged 'Shivajinagara.' I have consciously decided to wait till the film releases as I want to do similar roles.

I look at the film as an opportunity to see some bountifully creative minds do something that I could not do - tell the story with images. I can't wait to see what they do.

Charles Bean is a brilliant director. I come in with an idea and try to do it, but I fall on my face. And then, he says, 'Wait a minute, there was a little moment in there. Let's try that moment and expand in that direction.'

I wish I could sit back and say, 'Oh, I'm gonna wait for a Merchant-Ivory film to come my way. Or Ivory-Merchant. Whatever it's called. But you just take what's given and then, hopefully, down the road you can be more choosy and only do, say, Wayans brothers movies. That's my goal: to be more Merchant-Ivory-Wayans.

When we produced 'Highway,' Imtiaz Ali and I planned it as a quick small experimental film, while we waited for Ranbir Kapoor's dates later during the year.

I hate sitting around and waiting; that's why I always have an editing suite on set.

You have to make millions on Friday night, because there are another 600 films waiting behind you, with explosions and everything.

Making a movie is a long, dull process. There's a lot of waiting around.

That's a hobby of mine - to do whatever I can for unusual for-hire creative projects. I am waiting for someone to really challenge me - obviously I'm often approached to do film related work, but I would be very happy to design a bar or an amusement park ride. I would love to be an imagineer!

Waiting is always a part of people involved in the film industry. Be it on the floor, in the make-up room or at home. All my life I have waited for a good role.

The film world is a crazy place to be. You sit around all day waiting for the phone to ring. Are people talking about you or aren't they?