Quotes About Film

To put it crudely, 'The Act of Killing' would blast open the space for the more delicate film, 'The Look of Silence,' to do its work.

When Silence of the Lambs did well commercially it was more than anything. My partner Ed Saxon and I were just so relieved that finally we had made a movie that had made some money!

Pittsburgh, for a while, became a production centre. There was one $400 million year. Hollywood was bringing productions in there. Films like 'The Silence of the Lambs' and 'Innocent Blood.' So my guys, the guys I worked with, were able to have careers and live at home. But then it dried up, and a lot of my friends left.

It would have been more logical if silent pictures had grown out of the talkies instead of the other way around.

I'm sad to see celluloid go, there's no doubt. But, you know, nitrate went, by the way, in 1971. If you ever saw a nitrate print of a silent film and then saw an acetate print, you'd see a big difference, but nobody remembers anymore. The acetate print is what we have. Maybe. Now it's digital.

It was 1953, and I was still at school. I'd borrowed a silent French film from the library for my 9.5mm projector. It was by Jean Epstein, and it was awful. So I rang the library and asked if they had anything else. They said they had 'Napoleon Bonaparte and the French Revolution.'

Just telling a story. That's cinema. It's not silent, black and white. It's a simple story that's well made.

Harvey Weinstein bought our film, and he's an animal. He's got us out there campaigning and everything because honestly it's a silent black-and-white film.

I love some films with very silent characters, people who don't speak, but I wouldn't be able to do that.

Now I'm the go-to-girl for silent films.

My father had been an avid fan of Chaplin during the silent film days, but when the talkies came along, my father lost all interest in movies.

Ever since I made the short film 'Black And White,' which had almost no dialogues, the idea of making a silent feature film fascinated me.

From a child, I knew I didn't have the face I wanted to have. My mother was a baroness. She was from Berlin; she was a silent movie actress and friends with Marlene Dietrich. So she knew all about film make-up and prosthetics and stuff like that and what they used to do in those days. And she taught me all that as a child.

When I was approached for the Kannada version of the film, the makers said it would be their version of 'The Dirty Picture,' based on the life of Silk Smitha. So, I asked them for the exact story. But, I was shocked after hearing the complete story. It was neither like the Bollywood version, nor about the life of Silk Smitha.

I honestly don't understand the big fuss made over nudity and sex in films. It's silly.

I know it sounds silly, but in auditions for film or TV, the words aren't as important - you need to get into the character and have the gist of the scene. But in theater, if you don't do it word for word, then you throw off your scene partner.

Hollywood comedy has gotten really silly and absurd, and I like that.

Even The Impostors, as silly as it is, is a very intimate film, in a way.

People like light and silly, and they like stuff that's really energetic, and you get a character in a film bouncing around and screaming, people laugh. That's all it takes. I don't find that funny. To me, what's funny is dialogue and nuance of character and performance.

I know, when I was in film school, some of my films were silly, but a lot of them were more dramatic. I don't think I intentionally set out to do comedy stuff. I guess that's a consequence of coming up working with David O. Russell and skewing toward those sensibilities.

I, for one, personally like rom-coms, silly rom-coms, but at the same time, I also want to watch a documentary or an award-winning drama.

I just didn't know that you could have a voice and an authorship over a film, which probably sounds a bit silly. But I just hadn't really thought about films in that way.

I'm not looking at any stage stuff at all. I'm going to give that a break for a while, if not forever, because I've done a huge amount of stage stuff and if the possibility of working in pictures comes along, I'd be silly if I didn't grab it.

He's so interesting because you think you know Dennis Hopper, but you don't really know Dennis Hopper. I don't really know Dennis Hopper, I just know him from the silver screen.