Quotes About Film

All through my life what I've loved doing is watching movies. I love the escapism of film, I love stories. So it is incredible to be able to be in them as much as I am, to see them from the first stitch in a costume to the end product.

Motion capture is amazing. I prefer it. You wear a 'Power Ranger'-esque suit, you have tape balls on you, you have 60 cameras around you capturing your every movement and there's no hair, no makeup.

'Twilight' is such an amazing project, and I think it opened up doors for all of us cast members.

I have made a film about jazz that tries to look through jazz to see what it tells us about who we are as a people. I think that jazz is a spectacularly accurate model of democracy and a kind of look into our redemptive future possibilities.

I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.

One of the main reasons I am so drawn to Hitchcock is that he planned his shots way in advance on story-boards, which he designed like classic paintings (he was an art connoisseur). It's why he found shooting on set boring - because he had already composed the film in his head.

Privately, she was proud of her Oscar for The Big House because she had conquered a variety of obstacles to create a realistic film where for the first time audiences heard prison doors slam shut, inmates' steps shuffle down the corridors, and metal cups bang on the mess tables.

David Mamet's film House of Games is a wonderful exploration of cons and con artists that shows forced teaming at work.

n 1997, Van Sant was doing a reading at a bookstore from his no Pink. Dedicated to River, the book starred a thinly disguised version of him.) An audience member asked him who had hoisted River Phoenix body into the car. "I was hoping that viewers would project themselves into the film and decide for themselves who it was," he told her. "Okay, then," she replied. "Who picked him up in your version?" Van Sant paused. "In my version . .. in my version, I pick him up.

In 1997, Van Sant was doing a reading at a bookstore from his no Pink. Dedicated to River, the book starred a thinly disguised version him.) An audience member asked him who had hoisted River Phoen body into the car. "I was hoping that viewers would project themselves into the film and decide for themselves who it was," he told her. "Okay, then," she replied. "Who picked him up in your version?" Van Sant paused. "In my version . .. in my version, I pick him up.

J'applaudis jusqu'à en avoir mal aux mains. J'applaudis comme si cela pouvait prolonger la soirée et la sensation que j'éprouve. Et parce que je sais qu'au moment où je vais arrêter, il arrivera la même chose qu'à la fin d'un beau film, quand le générique me renvoie à la réalité qui m'attend et me laisse le cœur serré.

In Italy the chairman of the Film Commission, Admiral Stone, began a meeting by roundly declaring that Italy, as a rural and former Fascist country, did not need a film industry and should not be allowed to have one.[...] Neo-realism signalled an affirmation by Italian film-makers that they could create a cinema whose aesthetic (and political) assumptions were opposed in equal measure to those of Hollywood and of Italy's own cinema in the Fascist period.

If you have a quiet half hour with one of your dear companions like peason or gillibrand what is nicer than a game of snakes and ladders? Aktually quite a number of things are nicer like a film of marilyn monroe a quiet cig or a plateful of roast turkey but you do not get these things at skool chiz so it have to be snakes and laders.

It's incredibly unfair. You don't see a lot of 60-year-old women with 20-year-old men onscreen.

Es bueno que la gente vea películas de guerra. Si todo el mundo viera películas de guerra, sabría que la guerra está mal y dejaría de luchar. Lo que sí está mal es que hay demasiadas películas de paz. Por eso la gente no puede ver con sus propios ojos que la guerra está mal.

Even for Terminator 2, perennially in my DVD player, which is the finest film ever fucking made, and one of the best feminist movies of all time.

'Slow West' is a film that I did with Michael Fassbender in New Zealand and Scotland. The director was John McLean. It's a film set in the 1800s. I play a young Scottish boy brought up in the royal family. I fall in love with someone who works on our land.

My favorite parts about 'The Battle of Five Armies' were the moments where you could clearly see that we were looking at New Zealand. That it wasn't done in post, it wasn't CGI, it was the beautiful, incredible creation of Mother Nature in all of her splendor.

There's this zeitgeist happening, and people are more open to 'Sorry to Bother You' being a hit with 'Get Out' being out there. But that zeitgeist is also happening because of the movements going back to Occupy and Black Lives Matter. Usually, film is years behind. It just so happens that, this time, everything is lining up.

It was an impulsive at her zenith Zeenat decision to act in 'Boom,' I signed the film after 70 per cent of the movie was done.

In the case of 'Zero Dark Thirty,' about the hunt for Osama bin Laden, an issue that is central to the film - torture - is so important that I feel I must say something. Mark Boal and Kathryn Bigelow have been irresponsible and inaccurate in the way they have treated this issue in their film.

I am not very responsible economically. I have a history working on films for years and years, and by the time I was starting the next film, I was starting from zero again.

I have always appreciated the honest brutality of the international film world. One need never doubt one's worth in the market. Mine was zero.

I remember when I first met Katherine Bigelow for 'Zero Dark Thirty' - actually, we met for another movie, and that never got made, and then she called me and invited me to 'Zero Dark Thirty'.