Quotes About Film

When I first read 'Boyz,' I cried. It could have been about some kids in Warsaw, Poland. I knew it was good, but I had no idea what it would do to me.

Even if I had $200 million, I'm very wary of overusing CGI. I think it's a great tool and it can be used really effectively, but I feel like it does tend to be overused and especially in sci-fi stuff.

I'd always been quite wary of doing a romantic comedy. They all seem the same to me.

Actors in the film industry are usually wary of expressing their opinions on the issues of the day, politics especially.

You can't intellectually purge yourself of who you are. Whatever that is, it's going to come out in the wash, the film wash. What you are is going to be relevant, if not to yourself, to the movies you make.

As Ralph's character begins to discover the political thriller aspect of the film, he falls deeper in love with his wife, so the two run together. That's the beauty of this film. It has fast pace and excitement, but it also has heart and soul.

Arabia, like Ireland, is mostly a country in a movie.

One of the best animated films I've seen come out of Disney was the Tarzan movie. I wasn't crazy about the story or the design on Tarzan's face, but the traditional animation was spectacular.

The film depends on the audience's belief in this relationship.

the most enjoyable Western she knew and one of the most fruitful to analyze, but her students could see only John Wayne's politics: his presence wiped out the rest of the film for them, destroyed its personality. "But one has to take their feelings into account," she said.

Lucille Ball]'s such a TV icon it's hard for some to separate the two Lucys—the gorgeous, snappy actress of film and the wacky, slapstick queen of television. On TV she was a middle-aged housewife, on film she was a dazzling beauty. The difficulty with her movie career wasn't that she was bad or not up to the roles. Quite the contrary: They were rarely up to her.

That's why I never became a director. I never had patience with people.

It's a very difficult thing for people to accept, seeing women act out anger on the screen. We're more accustomed to seeing men expressing rage and women crying.

Whenever I'm in theatre situations I will go out of my way not to talk about my father, but in the film world I can be really proud of my family and say, 'You know what: my dad's a really, really famous theatre director ' because nobody has any idea.

'Butch Cassidy' was the only film I ever enjoyed making.

None of my films are 'Pollyanna.' They're not little deers walking around with butterflies and stuff. That's not what I do.

I knew a lot about the Coen Brothers by the time I was 12 or 13.

I wanted to move between film and theater - I never felt like I fit into TV. And I'm very anti-TV, like, 'I'm never going to do TV,' but also, TV didn't want me either, so it was kind of perfect. And then, of course, cable happened, and suddenly it was like, 'Oh, I could do that kind of stuff.'

Sonali Cable' is not a low budget film, it's a normal budget film.

One of my problems with a lot of things I watch is that everybody's too pretty, and it takes me out of the film because I'm thinking that all these people look like I've seen them in a cafe in Los Angeles.

It is easier to make a film but difficult to make it on your own terms. In that sense 'Madras Cafe' was a very satisfying experience.

I did a cameo in 'Dum Laga Ke Haisha.'

'X-Men 1' - I did a cameo.

A cameo in 'Doctor Who' would be kind of cool to have on my filmography.