Quotes About Film

When you work on a movie, you just have no idea how it's going to come out; you hope it's good, but you don't really know, and you don't see it until about six or nine months afterward, and I saw it and was pretty pleased.

I remember Berlin. Berlin to me was the star of the film. I loved for six months that we filmed there.

I've done about six comedies. Oddly enough, the script came to me from one of the guys in Platoon.

Lot of people liked me in 'Manorama Six feet Under,' 'Oye Lucky Lucky Oye,' 'Dev D' and 'Shanghai' and the only common thing in all these films is that when we were making them we never thought they would work. The ones that did not work were safe films.

I produced six movies with Amy Robinson since the very early '80s.

I saw 'A Night at the Opera,' this Marx Brothers film, when I was, like, six years old. I just became obsessed, you know?

I get quite fed up being on a film set day after day, six days a week. It can get to be a grind.

A film like 'The Sixth Sense' burns an image of who you are into people's minds.

The Sixth Sense is not a good white film. Insomnia is not a good white film. They're just good films. So why we can't we have good films that happen to have black people, or Asian, or Latino, or any other minority group in them?

I've always found that no matter how much you spend on a movie - you can spend sixty dollars or sixty million dollars - if the movie's good, it's good.

If I counted them all up, I was a dancer in sixty movies!

The size of the budget doesn't make that much of a difference because the kind of issues I have on a low budget film I have on a big budget film as well, but they're just much bigger.

If I'm in the bookstore, and I see a 700-page novel, my first thought is, 'Ooh, how could you cut this down to size and make a movie out of it?'

The size of the budget doesn't make that much of a difference because the kind of issues I have on a low budget film I I have on a big budget film as well, but they're just much bigger.

When I was a kid, I loved Nicholas brothers films. It was like skateboarding. Even Gene Kelly: I always preferred him to Fred Astaire, just because he was more athletic, like skateboarding.

I write scripts to serve as skeletons awaiting the flesh and sinew of images.

I was skeptical about the whole idea of my being in a film.

A sketch is just a mini movie.

When Bruce Lee gets his cameo in 'The Green Hornet' - as one of the drawings in Kato's notebook - it clarifies what the film is: an unrealized sketch. A sketch can afford to allude to a point of view. Moviemakers need to show their point of view, something this shrug of a movie never gets around to doing.

There was a sketch group at Emerson, and if you could believe it, we were the cool kids. That's how Emerson rolls. I was a film major, but I spent most of my time doing that.

I think what is nice about 'Elf,' and why it doesn't play as one long sketch, is that the character actually grows up during the course of the film. It's not just a character that you can keep checking in on and keep doing sketches about. It's a story. I'm pretty proud of how we told it.

When I felt like an outsider, movies made me feel inside my own skill set.

There's so much that goes into a film that I feel like it's a bit arrogant to say, 'Oh, I never watch my own movies.' Well, it's not just you. There's a whole host of other people. So much skill goes into it. But I would say it does take a couple times seeing it to get a level of perspective.

In a way, I love being inspired by the production quality that TV and film have got - there's no question about the amount of skill they use to entertain us.