Quotes About Film

If you look at the game and everything, it's not quite like looking at an animated film, because that's total character. This, this is really movement, but it's got funny little things if you look for the humor. They're actually getting to the character.

I think you tend to try, during the time you've got off, to forget about the film. It was such a total world. I mean, the sets were claustrophobic, and as soon as you were on there, you were right back into it.

My work is made on lines similar to those of a film production. A lot of my work is kind of bureaucratic, endlessly phoning up people, trying to find the cameraman and the lighting man, because I am a total technology-phobe, quite helpless with equipment.

After I graduated from Brandeis, I took all the money I had in the world, which was $5,000, and I made a short film. I made every mistake you could possibly make. It was a total disaster as a piece of work, and yet, you know, it was ambitious in some way.

Spielberg, like many others, wants to convince before he discusses. In that, there is something very totalitarian.

In acting, one should look at the film in totality. Improvisations should only be made keeping in mind the limits of a character. Always believe in team work.

There are sections of the film that I don't love. There are moments that really lift and elevate, and then there are parts that feel clunkier to me. But the totality of 'Harold and Maude' is so much greater than maybe other films that are more perfect or look more beautiful or handle every moment more exquisitely.

When we were making KONG, I went into the sound room and made an aria of horror sounds. I was in charge of it; there was no one there to listen to me. I was totally in charge of what I wanted to do.

Cinema has become a global economy, totally international.

I am totally inspired by 'Godfather,' one of the greatest films made. Also, I am fascinated by the thought of how someone becomes a gangster and continues to be one.

I think directing in a team is a really good idea because it stops the cult of the director as God straight away, and also you're discussing things on set so it opens it out to everyone and it becomes a totally collaborative thing. And you have someone who supports you when you're feeling a bit insecure.

The culture of independent film criticism has totally gone down the drain and this seems to come with the territory of the consumer age that we are now living in.

Film is different for me now. If the money is good and it's not totally revolting, I'll do it.

I will say this: the first film that I was on was 'In the Heat of the Night', that Norman Jewison directed with Sidney Poitier. I'm on the set, and I'm totally taking it for granted. Everyone is working for everyone else and pulling for the very best, and it makes everyone better because you feel that effort and concern and appreciation.

Grain isn't structured like a screen door that you're looking through, but pixels are. Film-based grain is just all over the place, one frame totally different from the next. So your edges are coolly sharp and have a different feeling, an organic feeling rather than this mechanic feeling you get with digital.

And getting stunt coordinator Dan Bradley and everybody from the whole 'Bourne Supremacy' crew, I think was real cool for our film because we do a bunch of really big jumps in this movie.

He looked just perfect to play Dorian Gray in a film version of Oscar Wilde's novel. Young, graceful, and indecently fresh and handsome, he could easily have worn a badge that said READY FOR DEBAUCHERY!

To me, what separates a funny movie from a good movie is something personal.

I like to think of myself as a fairly educated human being, but I'm a very uneducated actor when it comes to movies, directors, producers, actors for that matter.

He's a guy's guy, so it pretty much became like the impressions - don't imitate Sean Connery's voice, and things like that. We were all kind of doing it towards the end of the film, anyway, and he was cool with it.

Mentre guardavo il film mi domandai che cosa avremmo chiesto al mago, se io e il mio cane fossimo stati trasportati ad Oz. Mmm, vediamo un po'. Cervello? Ne ho da vendere. Coraggio? Cubik non ha paura di niente! Un cuore? Io e la mia cucciola abbiamo un cuore grande così. Che cosa avrei chiesto, allora? Mi piacerebbe cantare come il Leone Codardo e danzare come l'Uomo di Latta. Nessuno dei due lo faceva molto bene, ma a me sarebbe bastato.

Everything was female. The books in the library scene were all by female authors. The photographs and art objects were all female. Even the animals—the monkeys, the dogs, the horses—were female. I'm not sure if audiences were aware of that, but there wasn't a single male represented in the entire film, although nine-tenths of the dialogue centered around them.

I'd love to do a film with Mariah. But it would have to be a comedy. She's the funniest woman in the world, she just cracks me up all the time.

I've always felt that, although Truffaut was greatly revered and admired, at the same time, in terms of film and how much he loved film, he was underestimated.