Quotes About Film

It was 100 feet of 16 mm black-and-white film of a car coming to a stop sign, and driving off. I had to decide how to frame and light it. It was magic. There was a sense of mystery.

I did 10 years of comedies and 10 years of Westerns. I really like to stay away from car chases. I prefer the more intimate film. You have a much more direct association with the emotions.

My favorite scene in this film was the flying car, because that was just wicked.

When you do a film, you get picked up in a car, lunch is free. Theatre is really hard, and you get absolutely no money.

You can't be pregnant in leotards, and this is the last chance for us to get our bodies into the shape of concert dancers and capture it with the magic of film.

In the theatre you can change things ever so slightly; it's an organic thing. Whereas in film you only have that chance on the day, and you have no control over it at all.

The art of motion pictures is pictorial and language comes a distant second.

If you get a chance to be in a film, that's great. One of my goals is to make a record as good as Don Henley's album, Building the Perfect Beast.

I should like to make films that are not lowering to the spirit. A new building can be very harrowing, I should like to give people a chance to whistle.

Raymond Chandler," said Hepplethwaite with a sly grin. "General Sternwood at the beginning of The Big Sleep. One of my favorite films. Bogey as Philip Marlowe. Must have seen it about twenty times. Know it by heart.

It doesn't do any good to say, 'This is what it means.' When you are spoon fed a film, people instantly know what it is. I like films that leave room to dream.

When you finish anything, people want you to then talk about it. And I think it's almost like a crime. A film or a painting – each thing is its own sort of language and it's not right to try to say the same thing in words. The words are not there. The language of film, cinema, is the language it was put into, and the English language – it's not going to translate. It's going to lose.

I love the French. They're the biggest film buffs and protectors of cinema in the world. They really look out for the filmmaker and the rights of the filmmaker, and they believe in final cut.

The job of the film director is to tell the story through the juxtaposition of uninflected images—because that is the essential nature of the medium.

This is what I understood by it: that for Astaire the person in the film was not especially connected with him.

When I showed her my well-worn copy of Stormy Weather she reacted in a way I hadn't anticipated, she was offended by it—hurt, even. Why was everybody black? It was unkind, she said, to have only black people in a film, it wasn't fair. Maybe in America you could do that, but not here, in England, where everybody was equal anyway and there was no need to "go on about it." And

Images have always been a form of haunting, but when film arrived it became possible to see the dead walking and talking, something previously only conceivable in the realms of witchcraft and myth, and though film has never lost its trace of the occult we have always attempted to tame, control or disguise it.

If I work with Shah Rukh, it will be as an actor, not a star. Whenever I have thought of making a film with some star in mind, I've abandoned the film in a few weeks.

The idea of doing film and music together is an absolute dream.

I feel for a film to be accepted, women have to take to it. The women bring the rest of the family to the theatres.

Bhavesh' is my most accessible film for sure.

I would accompany my dad to his film's sets. I especially remember going with him on the sets of 'Vijaypath.'

I'm not accustomed to doing films without seeing the script.

Whenever a film allows you to think and feel and take it beyond the moment, I think it's achieved something. And 'Funny Games' does that.