Quotes About Film

The truth is, no matter how modest Steven [Sebring] is, he was obsessed with the outcome of the film [Dream of Life]. Every single frame was important to him.

Truth is, generally I like film festivals; somewhere at some level there's an exchange of ideas.

The novel and the film of 'The Color Purple' are both works of the imagination that make claim to historical truth.

It was the kind of phone booth you only saw in old movies and at the Farmers Market or over at Phillippe's.

The reader is to be pulled in by the preponderance of the evidence that he or she has been sifting through. As you read, the details fall like snow that suddenly is ash. The character is clearly visible once he is coated, like a status in the town square after such a storm, with a film of detail.

I suppose it was a mistake to sketch in a background for the movie, in which I described a likely mix of people in a late-Roman settlement, amongst them people from Africa and the Near East. 'You mean they had black people back then!' was actually what my boss exclaimed when he read that. 'Could Lancelot's sidekick be black?

A huge part of what we do as actors is learning to ignore the camera, as if it's not even there, while simultaneously being very aware of the camera and what it's capturing, because you can give the best performance of your life, but if you do it with the back of your head facing the camera, it's going to get cut from the movie.

It's a sin to have your films not to make money.

The thing is when you play a character it's the persona you bring across from a book to film, or book to script to film. If I play Frank Sinatra, there's gonna be things I do in a movie that Frank might not have done, but it's the personality that comes across.

I worked on a film short with Frank Sinatra when I was a kid.

Sinatra was bothered with issues of anti-Semitism and racism all his life. The song and film he made 'The House I Live In,' was a deep message against prejudice and he was very proud to have recorded the song.

I did a film in which Andy Garcia and Michael Keaton both played the leads, 'Desperate Measures,' and interestingly enough it was their biggest payday. The film didn't do well, and it kind of marked their careers. They've done less since. It all changed.

I feel like I have lived all over the world since I get to go everywhere to film.

Winning a State film award for 'Nandanam' had me sit up and realise that cinema was my bread and butter and that I had to be sincere to my work.

The more sincere I could be, the better it would be for the film.

'The Room' was such a specific piece of cinema that worked because it was so sincere. That's the thing that's great about 'The Room': it's something that will never happen in the same way again.

I didn't know I was a good director, and I mean that sincerely. I had done a film a long time ago called 'Cold Around the Heart.' Nobody saw it, and it didn't turn out the way I wanted to.

I'm going to insult a whole industry here, but it seems like TV is for people who can't do film. I'm not talking about actresses; I'm talking about lighting people. Lighting on TV is just so... it's sinful, it really is.

When you sing for a film, you are not in control, because somebody else is directing it; somebody is doing the lyrics.

I had to go and sing with the musical director of the film, Simon Lee, who is just incredible, and it went great. I sang with him about five things, things we'd worked on. And then I went to sing for Andrew Lloyd Weber.

In 'Crazy Rich Asians,' Singapore will be seen as it should be seen, without CGI, without the altering of the images to be more Chinese - a representation of Singapore as we know it and love it.

I have fond memories of Singapore. I shot here for around 25 days for 'Bengali Babu English Mem.'

A musical film is my idea of heaven. You can pre-record, you don't have to sing live. Singing live was the bit I hated the most. I never felt like a confident singer.

'La Lupe' is my passion project. I've done it as a one-woman show, but I'm raising money to turn it into a film. It's a story of a Cuban singer who became the Queen of Latin Soul, the first woman on the N.Y. salsa scene.