Quotes About Film

They're such hierarchical things, film sets, they're sort of mini societies. Often they're incredibly political places.

I would say that no film is apolitical. There are politics in all films. Any film that is anchored in a society, any film that deals with humanity is necessarily political.

My films are a reflection of the society I live in, what I see and observe.

My background is sociology. Combined with my graphic approach, if I could do some film projects, I think I'd be very good at making documentaries eventually, but people don't think of me for that, of course. But dialogue is something I know I can be good at.

For my first Hollywood film, I really didn't want to be doing a film where I'm looking like a stooge with fake snakes that look like socks.

When I am shooting a film, then everything goes soft focus. My family also complains that I don't give them time.

Oh, filmmakers, please don't take my soft book and turn it into a horror, or take my horror and make it soft.

It's appealing to me to get to be in a commercial film without feeling like I sold out.

I've sold 11 of my books to Hollywood. There are all kinds of my books on shelves in Hollywood because the scripts didn't capture the characters.

'Coraline' is Neil Gaiman's book, it sold a lot, it has a big fan base. It was originally conceived to be live action, but I never really wanted it to be. I always thought that it would work better as an animated film.

My first book, about Ruby Ridge, was made into a miniseries on CBS in 1996, and since then, I've dabbled in Hollywood, pitched a few things, sold a couple of screenplays and a pilot that I wrote with a buddy from Spokane, flirted with seeing 'Citizen Vince' as a film, and most recently, adapted 'The Financial Lives of the Poets' as a script.

'Black Mirror,' I read that, and I had another offer for a movie at the same time that was a bigger movie, an actual film as opposed to TV, but I said, 'No, it has to be Black Mirror.' And it hadn't been sold to Netflix, hadn't gone abroad at that point - but it's just good work - that's all there is to it.

If you have sold the film rights to somebody, take your money and leave. If the producers need you, they will call you. But you have to be careful about who you are selling your book to, and ensure that it is not tampered with.

I learned some big lessons on my first film, a horror film which was never released in the U.S., even though we sold it to Harvey Weinstein for a lot of money.

In 1995, I sold the rights to Harry Bosch to Paramount. They had several screenplays written, but a movie never happened. Harry Bosch went on the shelf, and I had to wait 15 years to get him back.

My dad always wanted to be a soldier, but he couldn't be one. When I told him that I would be playing a soldier in J.P. Dutta's film 'Paltan,' he was very excited.

In 'LoC,' I was returning to a war film after 'Border,' and I had to put myself into the hearts and minds of our soldiers.

I was a film editor for eight years before I made my first feature, 'Dog Soldiers.' I am from Newcastle upon Tyne, in the northeast of England.

The effort always remains that my new film outdoes my last in terms of performance and gets better box office success. Box office is the sole reason why I do films.

I think one of the things that I had to establish for myself quite early on was the rule that this is not my parents and this is not me or my family, that somehow this has to become a family that exists solely in the film of 'Minari.'

T.N. Seetharam is known for solid work in television and film.

Over the years, I have realized that there's more to a film's fate than just good acting and a solid script. It needs to be marketed well. It's the package that sells - the songs, action, actors, etc.

Post 'Kick,' I was flooded with offers. The film has given me a solid fan base even in Dubai and Bahrain.

As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.