Quotes About Film

Young photographers must experiment all the time and not be frightened of using light - freely-shooting straight into the light if need be - making an effort to get new angles on much photographed subjects, and also discovering chemical properties of film itself.

I have been thinking of many subjects to work around football, but nothing has inspired me. 'Sports' is a good subject. But, nothing has inspired me to make a film.

I love submarine movies.

The submarine genre is a category with all its own rules. But shooting on water is famously tough.

Our film examines the heroism, courage and prowess of the Soviet submarine force in ways never seen before.

I'd done kids' TV in the U.K., but not great kids' TV. So yes, 'Submarine' was the first film and the first good thing that I have done.

The great thing about making a film on a submarine is that it's kind of like making a play. You've got this limited environment.

We took up the offer with the BBC, and that was Monty Python's Flying Circus. I didn't have to submit my ideas to the group. I used to turn up on the days we recorded with a can of film under my arm, and in it went.

'Minari' was only eligible for the best foreign language film category due to the HFPA rules on language, so the film was submitted to meet these rules; there was no choice involved in the matter.

I really subscribe to that old adage that you should never let the audience get ahead of you for a second. So if the film's abrasive and wrongfoots people then, y'know, that's great. But I hope it involves an audience.

'Main Hoon Na' will always be special since it was my first film but in my subsequent films, I was trying to show off with gimmicks that didn't aid the narrative in any way.

I had signed a four-film contract at the time of the first 'Deadpool' film. So I always knew that I'd be working in the subsequent installments of 'Deadpool.'

I don't know if my films are about women in a kind of frolicking - here's a grab bag of women's issues. They are about women of substance with very particular stories.

'Neerja' is such a solid film. Everything about the film has substance, be it sound, writing, story, background scores, or direction.

People assumed that I wasn't open to doing TV, probably because I was doing a film and reality shows. I have become choosy and want to take up substantial roles.

Even after spending a substantial time in the entertainment business, before the release of a film, I am nervous.

'Heartless' is a rare commercial film where I have a substantial role.

In film, because you know where the ending is, characters can change, but in television, you substitute revelation for change, and that can be hard to pull off.

People will now go to films with subtitles, you know. They're not afraid of them. It's one of the upsides of text-messaging and e-mail. Maybe the only good thing to come of it.

I've always seen movies in English with Spanish subtitles. For audiences around the world, the language is less important than if it's a good film.

Bangkok is infamously mired in lurid contradiction, but it's also a city of subtle and distorted moods that journalism and film have hitherto mostly failed to capture.

Usually, you lose interest in a story beyond a certain point. But with 'Highway,' there was something very subtle, yet something very influential. I intended 'Highway' to be the first film that I ever made. Didn't happen.

I'd love to find a lifelong female film editor as Scorsese has with Thelma Schoonmaker. I think women are probably, without generalising, sensitive to subtle things as an editor.

Film is a medium of clear lines and broad strikes - which can be fantastic - but compared to the subtleties and nuances of a novel, it doesn't even get close.