Quotes About Film

People ask 'How does doing a film compare to doing an ad?' Well, when you're doing a commercial you don't have to sell tickets. You have a captured audience. Which is actually completely rare and great it gives you a lot of freedom. When you make a film, you have to do advertisements for the film.

As a kid, I always loved serialized books. It's the reason why people love 'Harry Potter.' Serialization is amazing. It works in television. It works in film and it works in books. Especially when you're a young kid, you get attached to these characters.

We did not stage kiss because we didn't know any better. It was just lights, camera, tongue-dance.

I am slightly offended by the way busy working women my age are presented in film. I'm not, like, always barking orders into my hands-free phone device and telling people constantly, "I have no time for this!" I didn't completely forget how to be nice and feminine because I have a career.

we, as consumers, are not completely satisfied with our scrutiny of women's appearances in TV and film. We also find it enjoyable to pit women against each other in fashion Hunger Games.

I often begin movies with music in my head it's a very important dimension to me. Not just the music itself, but how to use music in film: when and how and subtlety. I don't like to be too sweet in my stories, and I like the abrasive clang, the contrasting of sounds and cultures.

It gave me a lot of pleasure and pride that 90 percent of the crew for 'Monsoon Wedding ' and most of my film, are women. We get the work done, you know, much lesser play of ego... And I really believe in harmony, I believe in working in a spirit of egolessness and that the film is bigger than all of us.

With Vietnam, the Iraq War, so many American films about war are almost always from the American point of view. You almost never have a Middle Eastern character by name with a story.

If there is a book that the script came from you have to read it, you have to see what you can get out of it: mood, back story and things that may not even be in the film. They kick off your imagination and broaden the character, I think.

Esas fotos nuestras, con la película levantada y unos bordes dentados como los de los sellos, son también testimonios: nuestro cuerpo se interpuso certeramente, en algún momento, entre el sol y la lente de la cámara de fotos, dejando en la película una sombra como la que despliega la luna, durante un eclipse, sobre el disco solar.

The North won the war, but the South won the textbooks (blink and you might have missed Reconstruction in high school history class) and the movie house: in one scene in D. W. Griffith's 1915 landmark and deeply racist film The Birth of a Nation, black legislators are depicted drinking, eating chicken, and putting their bare feet up on desks in the South Carolina statehouse. The movie's message was clear: black people were inherently corrupt and unequipped to lead.

Depending on your point of view, Ashley (or Leslie Howard) was sensitive, poetic, and enigmatic-- or wan and a wimp. Rhett/Clark Gable was sexy, virile, and funny or just crude and unmannerly. The outcome was a crucial barometer of taste that would reveal a great deal, possibly too much, about a girl's temperament and predilections.

Memory is a Polaroid camera, where from the negative of the film of bad impressions, from the emptiness of nothingness, a touching nostalgia manifests itself.

Memory is a Polaroid camera, where touching nostalgia manifests itself from the negative of the film of bad impressions, from the void of nothingness.

The meaning of life is in the cyclicity of timing. In a recurring film, having seen it several hundred or thousand times, you will understand the hidden meaning of being. The secret of life is like annoying advertising in front of your face, which offers its benefits, that is, a strong family.

There is no such thing as real and fake life. Because it is the same role of an actor in a film which will make him famous, in the so-called real life.

My effort is completely personal. Every time I make a film, I find myself in debt and I spend years trying to recover. I pursue this personal effort just to make it clear that there is another way to see things.

1929, with his appearance in the movie Hearts in Dixie, the very visible African American actor known as Stepin Fetchit began a film career in which he popularized for an entire generation the crude stereotype of laziness suggested by his on-screen name.

If I have to produce movies, direct movies, whatever to change the way Hollywood treats older women, I'll do it. If I have to bend the rules, I will. If I have to break them, I will.

On set is where I feel comfortable. The red carpet stuff, talking about the film, explaining your own life, it doesn't come naturally. It's all necessary stuff I suppose but it's not my strength.

I don't make a film to make people like it. I make a film to make people think

Ace Bourke, whose ecstatic reunion in Africa, years after Christian's release, is memorialized on film—the unavoidable circumstances of

Curiously we did it all over again when we made the Live At Pompeii film, this time using another dog, called Mademoiselle Nobs. On the positive side, even when hard pressed, at least we resisted the temptation to construct an entire album of barking dogs, and to audition a clutch of session dogs desperate to make it in the music business.

I care about the connection with the audience. Film is such a powerful medium. Movies can change the way people think.