Quotes About Film

You always draw on your experiences with live audiences to know how to do comedy on films. You're working for a laugh that may or may not come six months later, but you're working in a vacuum at the time you are doing it.

There's something scary about acting always, because basically you do all this work in a vacuum, and then suddenly there's a lot of money spent making a film, and there's suddenly a camera here, going, 'Right? What are you gonna do?'

Often, romantic comedies exist in a vacuum, and it's kind of odd.

So I was in America and I thought I'll stick around while I'm here and just see what happens. The next film I did was High Art, so I guess it started with a sort of vague idea but really just a fantasy.

One day, I read an extremely vague ad looking for someone interested in working in film. Seeing as I loved watching films, I replied, and I found myself working for this guy who did his own personal editing of scenes from Antonioni and Fellini films.

Usually in France we prefer to say bad things about the Nouvelle Vague, but I'm always impressed with its freedom and the fact of not making a film to give your opinion but just as a piece of art, which to me means the Nouvelle Vague.

I had to keep reminding myself in 'Blue Valentine' that I was actually making a film.

'Blue Valentine,' Derek Cianfrance's emotional gunslinger of a film, tears into the topic of moribund marriages with an honesty that's hard to come by in Hollywood these days.

I read a lot when I was young. All the obvious, all the greats, from 'Le Grand Meaulnes,' 'To Kill a Mockingbird,' 'Fear and Loathing,' 'Catcher in the Rye,' 'The Bell Jar,' 'The Female Eunuch,' 'Valley of the Dolls,' 'The Feminine Mystique,' Tom Wolfe. Then, film took over for me. Film was so exciting in the '70s.

It's called 'Fight Valley,' and it's my first feature film. I just dove in and did the best I could. I don't think I'm gonna win any Academy Awards on this one. I had fun with it and hopefully will get more opportunities like that. It's about two sisters, one poor and one rich, and one goes into underground fighting.

For me, there is nothing more valuable than how people feel in a movie theater about a movie.

So much of selling a film in the industry is about creating a fulcrum where all the pressure comes to bear, and something seems suddenly valuable and approved by an audience. It's amazing how people could pick up tons of films on the cheap, but they don't because they wait until everything is laid out for them.

You tend to be more attentive when you shoot on film because, you know, it costs more, and everybody needs to be focused when you're filming something. Everybody considers it something valuable and precious, so everybody's focused.

With film, I always sit with people first and talk a while, and then we read or sing or whatever. I never sit behind a table. I get up; I work with them. I do everything I possibly can to not audition them. I can find out the best of them from them feeling comfortable and appreciated. I'd never let someone leave feeling not valued.

Perhaps our eyes are merely a blank film which is taken from us after our deaths to be developed elsewhere and screened as our life story in some infernal cinema or dispatched as microfilm into the sidereal void.

Belli bir doneme ait filmler yeni bicimleriyle yeni bicimleriyle yeniden gundeme getirilmeye calisilmaktadir. Oysa bu iki film tipi arasindaki fark, gercek insanla ona benzeyen otomat arasindaki farki gibidir. | 75

Patlama hep bir vaat, bir umut ????? olmuÅŸtur. ÖrneÄŸin Harrisburg'de herkes filmdeki gibi nükleer patlaman?n gerçekleÅŸeceÄŸi ân? beklemekte ve patlasa da biz de ÅŸu ne idüÄŸü belirsiz panik duygusuyla cayd?rma amaçl? nükleer patlama düÅŸüncesinden kurtulsak diyecek hâle gelmektedir.

When I make a film, it is a sleep in which I am dreaming.

I have come to realize that the rhythm of the film is one of narrative. I am telling the story. It is as if I were hidden behind the screen, saying: Then such and such a thing happened. The characters don't seem to be living a life of their own, but a life that is being narrated. Perhaps that's how it should be in a fairy tale.

In a pinch, I could always get work in pictures as a makeup artist.

Here is how I work: when I think that a film needs to have a principal theme, I search for a melody.

The film [Dream of Life] is not really an amateur work, despite the fact that none of us have ever done anything like this before; aesthetically, none of us are amateurs.

My whole goal was to be able to work in television and film and maintain a normal life, never be in a tabloid.

It's very hard to become an actor in film and television, you have to have such perseverance and you have to really believe that if you have any sort of talent at all, you will find work one day.