Quotes About Film

My preference is for good writing. It doesn't matter if it's for film or TV. Whatever. It starts with the writing. Even though I've had problems with writers, it doesn't matter how great of an actor you are. If the writing is bad, you're going to struggle.

Most film productions, when they're based at a place, they get, like, a 30-mile radius or a 30-minute radius to get out of the town. And once you go past that, your day starts to become shorter, and you have to start paying your drivers more, and everybody just gets paid more, and you have less time to shoot, and everything costs more.

You'll be offered the 'lead' in this new hot film with such-and-such A-list director, 'a fabulous part' - a fabulous part? A fabulous part is a character with a soul, who starts here and goes to there, you know? There aren't many of those.

I was on a starvation diet to look like I was near death in a film... but I went at it with a plan, and I had a guide; a nutritionist kind of helped me with it.

It's very clearly stated in the film: You make your own choices, and what you're always fighting is ego.

A movie is really provocation. It's not a message, it's not a statement.

All my films have some kind of statement about something - but I have to coat it with entertainment to make it palatable. Otherwise it becomes a polemic, and people don't want to see it. If you're trying to get a message out to people, you've got to entertain them at the same time.

My parents had a lot of movie soundtracks that they brought back from the States. So very early on I heard film music at home.

Every actor has to move in a Terrence Malick film - that's the requirement. If you stop, he'll tell you, 'No, no, keep moving.' You can't be static. It's a choreography.

For me, grief is a static thing, and my movies have an extremely dynamic sort of movement.

One of the core reasons for creating 'Station to Station' was to provide a space for exploration and cultural friction between different mediums. It should be natural for mediums like music, film and art to cross over, and we wanted to empower that process.

The 'Station to Station' film is made entirely out of one-minute films, and each of the 62 minutes is a completely different person, place or encounter.

The 'Station to Station' film has been fascinating to create. It feels as though it made itself in a way, and after awhile, the film told us what it needed and began to sculpt itself.

I shot 'Fruitvale Station' on super-16, and then I shot a movie called 'The Harvest' on 35mm, and then I shot 'Little Accidents' on 2-perf 35.

I think 'Sound of My Voice' was the first film where suddenly I could point to something I had done that I was proud of and say, 'Look at this piece of work.' And that's probably what led to 'Fruitvale Station,' which was the real break.

Cable television stations in America are now producing such smart, in-depth, non-formula, character-based dramas. Film has turned more and more into big action or cartoons.

I think it can be really powerful, and one of the reasons I love making films is I do feel they can reach beyond the statistics and the numbers and the complexities of a particular issue and really highlight the humanity in a way that an article or newspaper story might not be able to do.

People do more important jobs than acting in film that should be recognised, but for some reason it's big money, so people are elevated in status. If I was a bus driver, I'm sure you wouldn't be interviewing me.

I love the film route and I'm gong to try my hardest to stay on it.

I dub only four hours a day for a Tamil film because my voice doesn't stay strong for long hours.

But so long as we can keep this crew of fantastic people together and can continue to make real breakthrough films in this category, as well as characters that stay true to what we've done in this first film, I'd be more than happy to be a part of it.

Film is not a woman's medium. If you weren't the hottest kid in town, men stayed away from you.

I think that I altered history in 'Elizabeth,' and I interpreted history far more than Danny Boyle or Richard Attenborough did to 'Slumdog Millionaire' or 'Gandhi.' They took Indian novels or Indian characters and very much stayed within the Indian diaspora.

'Snow White and the Huntsman' was - I came in before they started shooting and basically worked on Charlize Theron's character for the most part. I guess I probably worked four or five weeks on that one and stayed during production a little bit with them.