Quotes About Film

The great thing about having spent all this time on film sets is that I've been able to watch directors and how they work. I now know that this is what I want to do as well: to tell stories visually. But it's definitely my vision that I want to put across, nobody else's.

All these directors, and I would include the Coen brothers and Quentin, have a very unique vision of what they want. They listen to ideas and make people feel like everyone is making the film.

If a film is suitable for family viewing, it should remain so, and if a film has some adult content, it should remain so, and these genres should never be mixed and spoil the vision of the story teller.

Let me put it this way: if I am the leading man of the film, and the film-maker is asking me to support him in a certain aspect so as not to burden the budget of the film, I will do whatever I can to support his vision.

From time to time, there are people in the film industry who appear on the horizon with a unique vision. South African director Neill Blomkamp is one of those rare people.

It's a morality film, and it poses the question 'What would you do?' I took it very seriously, just as the director did in terms of atmosphere and lighting, and I was just trying to help that vision along.

If you stick with a vision, it might not all work, but some of it will be absolute genius. To me, 15 minutes worth of absolute genius in a film is so much better than two hours of mediocrity. I would rather pay to see something different like that.

Most screenplays depend primarily on the vision of a director.

A film is a director's vision... there is, however, much input an actor or actress can have.

Directing is creating a whole. You're able to combine different elements and create a film that is unique and true to your vision.

I think TV is much more the writer's medium and film is about the director and their vision and how you can collaborate with them and see that through to the end. They are so different.

I think one of the main reason's Rick Rosenthal and Whitewater PIctures decided to 'get in bed with me' on 'Fat Kid' was because I came in with a strong business plan as well as a creative vision on how to make the film.

As an actor, you're always at the service of somebody else's vision. In a play, it's more of the director's vision, and he or she's got their hands on you all the way up to opening night, and if it's a film, there are even more people.

The minute you start the process of deciding to make a film and you're communicating that vision to anyone, you're in the process of selling. If you don't understand that, you're not in show business. You're just not.

Film is a very collaborative medium. If you're smart enough, you learn how to maintain your vision while drawing resourcefully from all the people around you.

I approach film no differently than I approach a role. I want to make sure the movie is right, the characters are right, I can really bring something to it as a visionary, a storyteller. It's great to point a camera, but can you tell a story?

Working with Spike Lee was a dream of mine. It was amazing to be able to collaborate with such a visionary.

A short story is a love affair, a novel is a marriage. A short story is a photograph; a novel is a film.

There is no other occupation in the world that so closely resembled enslavement as the career of a film star.

about Roscoe 'Fatty' Arbuckle during the filming of Windy Riley Goes Hollywood (1931)]: Oh, I thought he was magnificent in films. He was a wonderful dancer... a wonderful ballroom dancer, in his heyday. It was like floating in the arms of a huge donut... really delightful.

We're used to the film versions of psychopaths. The clearly crazies. But most psychopaths are clever. They have to be. They know how to mimic human behavior. How to pretend to care, while not actually feeling anything except perhaps rage and an overwhelming and near-perpetual sense of entitlement. That they've been wronged. They get what they want mostly through manipulation.

Music became more of a film camera, or a microscope exploring all the details of a text. As a result all phonetic aspects of the text were assimilated into musical process.

Don't you see the inevitability of this moment? I mean we're talking serious process here, man. The perfect critic stepping forth from the demimonde of the war and blowing the heart of the painting to rubble, and then turning his weapon on the man whose actions have been the pure contrary of the work's formal imperative.' 'I'm outta film,' said the mestizo cameraman.

In fact, it wasn't Cagney so much as Richard Widmark that he secretly imagined himself as, especially in the part of  Harry Fabian in Night and the City, which he had seen four times and