Quotes About Film

I was never that kid who grew up in New York and was always at the arthouse watching important films. I was the kid who grew up in the Midwest where there weren't any art films, and I watched TV. And that was really the medium that affected me and that I fell in love with.

Maybe they'll start making serialized movies. I watched the first couple seasons of '24' and it's really fun. I bought the DVD and watched it over a month or so and it's great. It's like reading a novel. It has a lot of possibilities that are more difficult to accomplish with a film.

I used to follow celebrities, and I remember I watched Sanjay Dutt and Pooja Bhatt shooting for 'Sadak'. I was standing on the road at three in the night, but little did I know that I would be making a film with Sanjay at some point in my career.

'The Exorcist' is absolutely my favorite horror film, and I watched it when I was, like, seven years old with my mother for the first time. I don't know why my mom let me watch that. I couldn't go to the bathroom by myself. I couldn't go upstairs by myself. I couldn't sleep.

I saw all those great '70s films when I was 9, and no one in my Brooklyn neighborhood cared if a kid watched an R movie.

I watched '12 Angry Men' when I was a kid. It blew me away definitely.

I went to film school, so I certainly know how to make things quickly and cheaply. But at the same time, I have the experience of working with Steve Starkey for three years. I watched him produce some gigantic movies.

When I was working on 'Vampires Suck,' I must have watched 'Twilight' and 'New Moon' literally almost every day.

I've watched 'Ringu' probably three or four times before writing the first draft of 'The Ring.' And then I'd seen 'Ringu 2' I think once.

I remember loving 'Braveheart,' and I still do! It was one of those films my family had on video and we watched over and over again.

A song like 'Osito Carpintero' came straight from the Pedro Infante films, movies that all the kids in Mexico watched.

I watched a couple of films I was in and thought, 'Those are pretty close to what we wanted them to be. I feel actually weirdly OK with it all. I can still see flaws in what I'm doing, but I think I delivered. I think I improved the film with my presence.'

Written by Pulitzer Prize-winning playwright Donald Margulies and directed by Sundance nominee James Ponsoldt, 'The End of the Tour' is a terrific film, among the year's best with its two-man tarantella of wall-to-wall talk - and I watched it through my fingers as though it were Mad Max.

If I see a now-28-year-old woman coming up to me, she's probably thinking of 'Juno' because she watched it with her parents when she was 18 years old.

I hadn't watched any Hitchcock movies when I made 'Tom at the Farm,' except for 'Vertigo' when I was 8 years old. I don't have a sophisticated film knowledge, but I have seen the legacy of classic movies in broader entertainment.

I watched the 'Seven Samurai' a lot because I loved it growing up. I can't describe to you how powerful that was. When you're a kid, you can't watch an almost-three-hour movie, but this was a war I just never saw before, with these samurai. I could relate to it, just being poor.

I had to pinch myself. I got the call and didn't expect it. And right up 'til nearly the end of filming, I was thinking, 'Am I actually doing a film with Akshay Kumar?' because I was a massive Akshay Kumar fan before, and the first film that I ever watched was his and Katrina's film, 'Namastey London.'

Usually if I find a film that's challenging, that I'm intrigued by, I want to watch it again knowing what the ending is. I found that with something like 'The Godfather Part II.' I think it took me three watches to fully experience it in the way it was intended.

No-tech tourism is a form of temporal eco-tourism in which one reads books or watches film and TV precisely because of the absence of 21st-century technologies.

When a new generation watches the films, people might mention that it has improved their lovemaking. I guess it's because it isn't threatening. It was very sweet and delicate.

My father's films are often very slow for the modern audiences, which are used to a lot of editing. It's the audience that watches the film instead of the director dictating the reaction he wants from you.

I pretty much believe that a film is a film and when an audience watches a film, they finish it.

No one watches 'Taxi Driver' and says, 'Oh, it's a male-oriented film.' No one looks at nine-tenths of the films out there that are headlined by men and say, 'It's a male-oriented film.'

Even today, my father watches my films only in the theatre with the general public. And he's very tough. His first call will be to the director and the camera man, and only then will he send me a message.