Quotes About Film

Orson Welles's second 'I-did-it' should show once and for all that film making, radio and the stage are three different guys better kept separated. 'The Magnificent Ambersons' is one of those versions of the richest family in town during the good old days.

I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.

I don't think most books can be justifiably translated on screen. The film versions can't convey the right emotion, fuel your imagination or allow you to visualise every line the way books do.

If you do two versions of a film, they should be identical. With the same frames and settings.

I did a film called 'Patriot Games' with Harrison Ford, and we actually shot three different versions of my death. And they settled on the third.

Dubbing has become big now with dubbed versions of 'Baahubali' doing so well.

Strict laws should be made and implemented against people who leak pirated versions of films online. This is completely anti-national.

People always ask why I stay in the online space versus going to TV or film, like most people would do, and the answer is that there's opportunity for innovation online - not only innovation in storytelling, but also innovation in how you interact with your audience and that is very fulfilling to me personally.

I don't necessarily think that having more money helps make you make a better film. Sometimes having less money is better. You're forced into being more original; you're forced into hearing something versus seeing it.

To me, cinema is not a movie or a TV screen, and it's not a seat in a building versus one in your living room. It's the art of motion pictures.

The ratings board is completely different when it comes to film versus the television arena.

I still really love the world and the universe and the mythology of 'Halo.' If I was given control, I would really like to do that film. But that's the problem. When something pre-exists, there's this idea of my own interpretation versus 150 other people involved with the film's interpretation of the same intellectual property.

I respect the system out there in Hollywood, I really do, but I'm very intent on art versus commerce. I want to do it all - film, TV and theatre - if it's the right job.

The expected vertical line of Ikiru's narrative breaks when Kurosawa does a flash-forward in the middle of the film.

Some films that I love, I love them also because of the music. 'Vertigo,' for example, is a movie where the music is doing 70 percent of the job.

The work I did in Vertigo meant nothing if no one cared about the movie. Luckily, Vertigo had a revival and people had begun to recognize there was something special and it gained in reputation. But it just as well could have ended up rotting in film cans somewhere.

It's very true that you can be both selfless and selfish at the same time. What we tend towards, particularly in filmmaking, is this binary sort of, 'This is a good guy, this is a bad guy.' And I quite like the fact that life is a bit more complex than that.

From a very early age, I knew I wanted to be Carl Denham.

I was in a very lucky position to be able to consider studio films and had decided to not go that route for a very long time until I read a script that I loved called 'Aeon Flux.'

There are many applications for which film is going to be better, for a very long time.

I think I could probably make $5 to $10m movies for a very long time and live a perfectly good life doing it. I'd probably get paid as well as a surgeon, which is pretty damn remarkable for a guy who went to film school.

I mean, I'm new but I've always been very interested in film making process and I've been lucky enough to work with film makers in my past that have been very encouraging to let me hang around. I get so emotionally vested - that the producer part of me was natural.

If you're making a film about a band or a songwriter or whomever, there's a publisher, there's a record label, and there are people who are vested interests in that film. But with back-up singers, because they did stuff for everybody, there's no one party that has any vested interest in seeing the story told.

You can probably ask any actor: every time you start a new film, it's literally like your first movie. Everyone, regardless of the filmmaker being a debutant or a veteran, takes their time to settle down when you begin the shoot together. It's like all of us have moved into a new house, and we are setting up the place.