Quotes About Film

I saw the finished version of 'The French Dispatch' quite a while ago, and it's just amazing. It's so incredibly strong and different... the way that Wes is expanding his talents to another dimension with each film is just wow.

I remember loving 'Hairspray.' I was obsessed with it, and I didn't realise why. I felt so connected to it at the time because there wasn't any other kind of representation. So when it happens, you think, 'wow, I really connect with this movie. Why is that? Maybe it's because there's a girl like me up there on the screen.'

In film, I was surprised when I first saw the movie 'Drive.' I said, 'Oh, God. It sounds great - I love it. Wow, this could be the soundtrack from 'American Gigolo' or 'Cat People.' But I'm surprised that the director would agree with a composer to write that kind of sound.

When I see great film, I have this feeling of 'Oh, wow! Wasn't that great? Wasn't that good?' I want to do something. I want to scream and go out there and participate and embrace life.

I loved 'The Secret of NIMH.' When that came out, it felt like, 'Wow, this is something really, really new.' It looked like a Disney film, but it felt very cutting edge to me. To a twelve-year-old kid, it seemed very inspiring.

I've worked with actors before where I was like, this is not working, and then I've seen their work on the screen and I've been like, Wow, that was a really great performance. Because there are a lot of elements with film. It's not like stage. It's not a kind of performance art anymore; it's a highly tuned kind of collaboration - a symphony.

I think if you just made a film that says, 'This is anti-war,' and you had to spend two hours explaining that... you don't like war? Wow, that's original. Know what I mean?

I remember watching 'A Streetcar Named Desire' when I was quite young, I was about 12, or 13, and I watched it, thinking, 'Wow. That is pretty cool. I'd like to do something like that.'

I think feature films sell on the idea, and I think TV works based almost entirely on execution. I don't think anybody is going, 'Wow, that show is executed poorly, but the idea is so cool I just have to keep watching.'

Since 'A Dangerous Method,' I've had meetings with everyone from J.J. Abrams to the producers of 'Drive.' And they all have the same thing in common; they say: 'Wow you worked with Cronenberg.' He gave me instant film cred.

Sometimes you read a script, and you just think, 'Wow, I would love to go and tell that story, and I don't even care what happens to the film, I would just love that experience.' And often, that mentality makes a great film.

There is a friend of mine that is very into the comic book world, and he showed me '300,' and I looked at it, and I said, 'Wow, that could be a great film.'

Once I had started film, I suddenly said, 'Wow, I love it.' I moved there from New York. But I've always gone back to the theater, and it is more satisfying, really, because you get to give a continuous performance - no sequels.

When I was first starting out was also when I first started really paying attention to the Oscars and stuff like that. And I remember thinking, 'Wow, everything is great for women in Hollywood, because Meryl Streep, Glenn Close, Jessica Lange, Sally Field - they're all doing incredible work.'

You can be Michael Moore and make 'Fahrenheit 9/11,' but that's hitting people over the head, and a lot of Americans don't like to be hit over the head. I want to make films that make people walk out and say, 'Wow, I really question if this is all right.'

Whenever I think I'm going to do two films a year, I get another wonderful story, like 'Stree', and I'm like, 'Wow!'

'The Stepfather' was the first time I sort of carried a film, or led in a film, and doing it was fun, and I felt very special. Afterwards, though, I was terrified. I just thought, 'Wow, this is basically going to be about me. If this film is a success or a failure, a lot of it's on me!'

I remember seeing 'Kill Bill' when I was younger and I was like 'wow.'

What do you spend $200 million on, with a film? I can't wrap my brain around that one.

'Dead Poets Society' was a very influential film on me and so talking about that movie with him, he just inspired me to continue writing poetry and we talked a lot about our favourite poets. My wrap present from Robin was a beautiful limited edition copy of Walt Whitman's 'Leaves of Grass' and that's a great memory for me.

'Podaa Podi' is a film that sees Simbu and Varalakshmi in three phases of life. Thus this film of course takes more time to wrap than usual flicks. The film is entirely being shot in London and we require to shoot it only during a particular season as the script demands it.

On Friday, I tend to wrap up at about 5.30pm after a very hectic week at work. I love nothing better than heading straight to my local cinema, the Hackney Picture House, to catch a film with friends.

By the time 'Dumbo's Circus' wrapped production of its 120 episodes, I had an agent, and I had scored my first feature film gig.

I don't know how I didn't kill any one of my sisters. For this one horror film we were making, I made my own harness for my sister. I wrapped her in all these ropes, but then also put a noose around her neck and hung her from a tree. Now I think, 'What if my harness didn't work?' I'm so lucky that nothing ever happened.