Quotes About Film

I came to live in Shepperton in 1960. I thought: the future isn't in the metropolitan areas of London. I want to go out to the new suburbs, near the film studios. This was the England I wanted to write about, because this was the new world that was emerging.

Time built up everyone's expectations about the impending conflict between Luke and Vader. If "I am your father" had been in the first film, I don't know if it would have had the resonance. I actually don't know if it would have worked.

What I loved about the original trilogy is how real it felt. I still to this moment can't believe how it felt to look at the desert of what was supposed to be Tatooine and seeing these two droids walking along and no fantasy genre film had ever, in my experience, looked like that before. And suddenly this was real.

Star Wars is probably the most influential film of my generation. That work was the personification of good and evil and the way it opened up the world to space adventure, the way westerns did to our parents' generations, it left an indelible imprint. So, in a way, everything that any of us does is somehow directly or indirectly affected by the experience of seeing those first three films.

There's something about looking at Super 8 films that is so evocative. You could argue it's the resolution of the film somehow because they aren't crystal clear and perfect so there is a kind of gauzy layer between you and what you see. You could argue it's the silence of them. You could say it's the sound of the projectors that create a moodiness. But there's something about looking at analog movies that's infinitely more powerful than digital.

When I was a little kid - and even still - I loved magic tricks. When I saw how movies got made - at least had a glimpse when I went on the Universal Studios tour with my grandfather, I remember feeling like this was another means by which I could do magic.

It was really really neat to make the movie because there were mentally challenged actors in the movie. So that was really really cool to work with them and they were always really happy, and they made everybody really happy on the set too.

Readers of the book, paradoxically, will have a different kind of surprise in store for them: What many "Vertigo" aficionados will find perplexing are the systematic, businesslike, matter of fact circumstances under which this odd, obsessional, very un-matter-of-fact film was created.

I think that someone should do a version of Die Hard in heroic couplets.

That is the thing about films. They don't change. You change. The immutability of the film (or a book or a painting or a piece of music) is something to measure yourself against. That is one of the things a great work of art does. It stays there waiting for you to come back to it, and it shows you who you are now, each time a little different.

An arm moving, a person kneeling to shoot in a uniform. It wasn't, of course, re-creating that day in 1970. The "real" feeling came from using film that reminded us of that day. So her reenactments used the materials—the look—of the collective memory.

Film as a medium has limitations, you must understand its strong points and its shortcomings. Conflict and movement are close to its soul. But peace, hope and great truths are all of a static nature and can be but poorly served by the film medium.

I just think that the collective experience of going to see a film is something you can't recreate.

I always wanted to make movies.

You know, I think the film business is its own worst enemy because it sells movies on DVD footage and 'behind the scenes ' and now it's a real struggle trying to keep storylines and plotlines a secret.

You don't merely give over your creativity to making a film-you give over your life In theatre, by contrast, you live these two rather strange lives simultaneously you have no option but to confront the mould on last night's washing-up.

We came out into the afternoon sunlight, dazed by the light and the film, both agreeing that what we had just seen was, essentially, a documentary. (We didn't yet know—nor did SAC—that existing strategic operational plans, whether for first strike or retaliation, constituted a literal Doomsday Machine, as in the film.)

One of them was Jake Eberts, a film producer whose works include Chariots of Fire, Gandhi, Dances with Wolves, Driving Miss Daisy, A River Runs through It, The Killing Fields, and Chicken Run, and whose films received sixty-six Oscar nominations and seventeen Oscar wins (he passed away in 2012).

Now that the black experience isn't viewed as box-office death, people are catching up to untapped auteurs.

I still viewed myself as a reviewer when I was on radio. Was it appropriate for me? I think the answer is it's only inappropriate if I allowed it to affect my film reviewing. I don't think you will find any studio that said, 'Yeah, he went easy on us because he was shopping a script.'

I don't intentionally make my films with the express goal of surprising the viewer.

I like movies that instill passion in the viewer. I like movies that can teach us about who we are as people.

But you can still find good films if you read your local film critics and are willing to drive a bit. You have to be a proactive film viewer to have the most provocative cinema life.

In my opinion, the motion picture is the greatest medium of expression ever invented. It embraces all the other arts. The films that have the greatest unity, the greatest overall strength, and give the most satisfaction to the viewer, have been those in which a guiding hand was imposed in every section of the film's many divisions.