Quotes About Film

I was very hesitant about doing a period film. It was very much out of my comfort zone; I'd never done anything like that before.

If you don't like a film or do a film out of obligation in a comfortable zone, it would be very painful, but when you do something with passion, interest, and belief in it, it excites you.

I was studying psychology honours and was very happy in that zone. I had dreams of pursuing higher education. When the first film happened and another one after that, I was not sure about sticking around in this career. It was never my dream.

Wouldn't it be great to see a line in all movie credits that truthfully says, 'Nobody was harmed in the making of this film, and at the cast party, all animals got a belly belly belly rub.'

Attention spans are so limited and ticket prices so high. We're anyway in a business of manipulating emotions. But each film needs to be positioned truthfully so that people don't feel cheated.

Truthfully, and I don't mean to sound naive, but I don't know that much about the film business.

In film, it's very important to not allow yourself to get sentimental, which, being British, I try to avoid. People sometimes regard sentimentality as emotion. It is not. Sentimentality is unearned emotion.

I think that documentaries are bound by journalistic ethics, and I think they have the pressure of trying to entertain someone for 90 minutes. It's hard, but it's the same question no matter what you're doing. Every film I've done, I've approached it the same way with the same level of respect.

For instance, when I go to the premiere on Tuesday I probably won't watch the film at all - I'll be watching the audience just to see their reaction to different moments, what I'm doing right and what I'm doing wrong, stuff like that.

I'm going to do an adaptation of the Italian film, Bread and Tulips. I really like that film.

It is hard work composing a song for a film and showing it to makers: 50% of the tune remains the same, and the remaining 50% is changed to suit the script.

I would love to do film someday, but I think we are all so happily in tune with 'Glee' that we are sticking with that right now.

Whenever I see a new film, I deliberately tune down several 'dials' in my mind - critical faculties associated with logic, plotting, science - just so I can retain some ability to enjoy a flick in the spirit it's offered.

The entertainment medium of film is particularly tuned to the present imaginations of people at large. A lot of fiction is intensely nostalgic.

As a kid, I would listen to anything that had a live orchestra or ensemble playing, so that covered everything from show tunes to eclectic jazz things to film soundtracks to classical music. They're all inspiring to me.

My mother Naseem Bano who was called the first 'Pari Chehra' or beauty queen of the film industry, had taken me to London after she saw me taking fancy to her ghaghra, lipstick and dance to the tunes of her film songs. For her, academics were more important than films.

I read every book about Buster Keaton and Chaplin to see how they worked - it's all about dedication, tunnel vision, pursuit of perfection, getting the gag right.

My next film, 'The Prince Of Players,' was Hollywood's first turkey in CinemaScope - when CinemaScope was new and hotter than a pistol.

Silence in the turmoil of the theater world made me survive 50 years without speaking on a stage, only to say 'No' in Mel Brooks' film, 'Silent Movie.'

To be an actor, you have to be self-obsessed, but when you are a filmmaker, you get a macro view. Every aspect of making the film is under your purview. And for me, that is a bigger turn-on than just being an actress.

'Fargo' was the turnaround for me, in terms of film, because it was a part; it wasn't a line.

After I turned producer, people asked me, 'Why are you taking up production? You are still so young and doing well.' Just because an actress decides to make movies, do people assume that her career is not going well?

I've just had the opportunity to see the finished film of 'The Hunger Games.' I'm really happy with how it turned out. I feel like the book and the film are individual yet complementary pieces that enhance one another.

'One Flew Over the Cuckoo's Nest,' which my father had tried to get made for six, seven years, and I for four, was turned down by every studio. Every studio in the world had passed on it.