Quotes About Film

On the other track I got to talk with Jon Poll, my editor, and we go into more detail about the decisions we made in both the production and the post-production. So I hope the combination becomes something worth collecting.

And friends of mine that had photography class in high school would develop the film and make prints and I'd take them back to the track and give 'em away or try and sell them. Much to my parents' dismay, I majored in photography in college.

I think if you get your fifth script made, that's the fast track. But there's no guarantee any of them will get made.

There are just things you can explore in a movie that you can't in 22 minutes with a laugh track.

When you're editing the film, you use a temp track. So you're putting music in there for a rough cut to keep track of what's going on. It can be a hindrance if wrong, it can be an enormous asset if you get it right.

I find, in film, we're always making things and having these intense friendships and then losing track of people. When I first start a job, I'm quite nervous, and it takes me a while to find my place, and then it feels like I'm just really loving it and feeling great, and it's all over.

The title 'Dohchay' is very perfect for the film. It is used very well in the title track. If you see the film, you will understand it.

I've had such a great track record in making a huge profit when the movies are smaller.

When I am offered a film, I don't ask whether I will be singing any of the movie's tracks.

I have an obsession with making an album rather than a collection of tracks. For me it's like making a film - it's the perfect length of time to tell a story.

I don't choose to make low-budget films. But that is the reality of surviving in the Japanese film industry. However, the trade off is, since we're working on small budgets, we have freedom. You can't buy this freedom with money. With this freedom, I think there are an infinite number of possibilities.

Perhaps not unusually for a popular film produced over three decades ago, there have been a dizzying parade of corporate characters trading rights to 'This Is Spinal Tap' through the years. Yet our requests for timely statements of the film's income have been met with a series of slammed doors.

I consider it a great honour that my movie Drive inspired so many wonderful artists to come together and create one ultra-cool glam experience.

Ryan finally came to my rescue. He'd thought working together in Paper Moon would help us bond.

The muscles that writers need for film are very different from TV muscles. Now, when I hire the writers and put the writers' room together, I know where their muscles need to be.

Once your acting job is over, you just hope they have a good editor and they put together a good film.

It's a word called symbiotic, you send the messages and it comes back in return. Together, it's a wonderful thing, it's why television is so great and film can never reach.

I'm pretty focused on what I do. I think directing is a very specific talent, and I'm not real big on putting puzzles together, which is basically what a film is.

When we travel, we are like a film at the moment of exposure; it is memory that will develop it.

A movie is like a person. Either you trust it or you don't.

Just film what's there, trust what came before, one hour before, and make it easy.

I've been very fortunate to be able to jump around. I just did this really wonderful film called Map of the World. That was a real, amazing, dramatic story. Then I did a movie called Company Men, a little comedy about the Bay of Pigs.

One of the reasons I did this, because I wasn't really looking for another science fiction film, was that my daughter can see it. She's 9 and it's really a good film for all ages.

We don't watch the film anymore because we've seen it so many times, so we'll introduce it, walk out and we'll come back in right about when I wake up in the morning and walk over to the shop and everything's changed.