Quotes About Film

I live in Vermont, and we don't have a tax incentive there, and therefore, we don't have professional crew there.

I'm not saying that there weren't other inherent problems with the score that couldn't have been overcome with a bit of remixing, but why did they ask me to do it, and why did Griffin ask me to do it this way, for a film that had nothing to do with American vernacular?

That's what I like about film-it can be bizarre, classic, normal, romantic. Cinema is to me the most versatile thing.

It may sound strange to say it of someone so famous, but I think Leonardo DiCaprio is underrated, particularly from an awards perspective. He is a very versatile actor. He started very young, and 'What's Eating Gilbert Grape?' is one of my favourite films.

For me, as an actor, it is brilliant that I can do both song-dance films and also something like 'NH10.' It is versatility which every actor aspires.

My phrase has always been that I am looking for the versatility of theatre in film. I think I have been quite lucky in that so far.

Some guys when they're catching the ball they'll tighten their gloves. The O-linemen have heavy stances in run verses pass is super light. There's all types of things that you can find on film that can give you an edge.

Films for TV have to be much closer to the book, mainly because the objective with a TV movie that translates literature is to get the audience, after seeing this version, to pick up the book and read it themselves. My attitude is that TV can never really be any form of art, because it serves audience expectations.

Telling Alan Turing's story in a two-hour film was a tremendous challenge. It felt in some small way like our filmmaking version of breaking the enigma code.

I'd forgotten I'd done the anime called Spirited Away, the English version of a Japanese film.

I had quite a bit of experience doing things that had been adapted from a book and playing real-life characters and playing the younger version of actors. That's kind of my thing.

I believe that one of the secret engines that allows cinema to work, and have the marvelous power over us that it does, is the fact that for thousands of years we have spent eight hours every night in a 'cinematic' dream-state, and so are familiar with this version of reality.

I'll tell you what I really loved: the version of 'Somebody to Love' that was in 'Happy Feet.' That was fantastic.

Almost every second film today has a rehashed version of an old song. In fact, even non-filmi songs are now being rehashed and used in Bollywood films, which is a good thing. But I don't want to be a part of that trend, not as a composer or as a singer.

Film is just a different version of what we did round the campfire when we were Neanderthals. We tell stories so people can learn things and relativise things.

My favorite-ever version of 'King Lear' is the 1971 film by Peter Brooks. He has this enormous fur thing, and it adds enormous gravitas.

I'm an eclectic individual when it comes to film. I love my Disney: 'Aladdin,' 'The Lion King.' Also, 'Romeo+Juliet,' the Leonardo DiCaprio version.

He considers the theatrical version of Fanny and Alexander an amputated version of what his original film was, and he doesn't really like the shorter film.

Racing cars which have been converted for road use never really work. It's like making a hard core adult film, and then editing it so that it can be shown in British hotels. You'd just end up with a sort of half hour close up of some bloke's sweaty face.

Great fiction tells unknown truths. Great film goes further. Great film improves Truth. After all, what Truth ever made $40 million in its first weekend of wide release?

Great fiction tells unknown truths. Great film goes further. Great film improves Truth. After all, what Truth ever made $40 million in its first weekend of wide release? What Truth sold in forty foreign territories in six hours? Who's lining up to see a sequel to Truth?

Here she was, barely twenty-eight, working on a studio lot, not doing what she'd dreamed, exactly, but doing what people did in this business: taking meetings, reading scripts, and hearing pitches—pretending to like everything while finding myriad reasons to make nothing.

I think that the power of art is the power to wake us up, strike us to our depths, change us. What are we searching for when we read a novel, see a film, listen to a piece of music?We are searching, through a work of art, for something that alters us, that we aren't aware of before. We want to transform ourselves, just as Ovid's masterwork transformed me.

There are always forces at work in a society, which are really forces of censorship - either religious bodies or zealots who are always putting pressure on things, whether it's books or art or film.