Quotes About Film

I have a special attachment to 'Bitter Sweet' and feel grateful because it introduced me to people in the film industry overseas and helped me experience Hollywood.

'Satra Ko Shaadi Hai' is a very sweet film. It was the first film that I shot. I play a shy small town boy in it, which is an absolute contrast to what I played in 'Sanam Teri Kasam.'

I remember on 'Jug Face' working with Chad Crawford Kinkle, who is as sweet as they come. He told me someone had given him advice that if you're making a drama, you basically need to put your main protagonist through living hell in every scene, and then you'll have a successful film. He laughed it off until watching me every day!

'Swept Away' is one of my favorite films of my father. I've seen it about 20 times. It's a cult movie in Italy.

I was swept by the narrative structure of film... you can create a world, you can destroy it, you can do what you want with it and serve it to people just the way you like.

I don't think a swimmer on film works unless you're Australian, because for them, swimmers are like their football players, their basketball players; they're huge stars.

I always felt that if I made a movie, it would be one movie; I didn't see how they could make 26 swimming movies.

In film, if you've got to do a scene in a swimming pool, you do a scene in a swimming pool. If you've got to blow up a car, you blow up a car. In theater, you can't do that, and therefore, you have the opportunity to engage the audience's imagination in a way that's rich.

I missed so much of the Swinging Sixties by working. From 1961 to 1969, I got up at 4.30 A.M., a car came for me at 5.30 A.M., and I was taken to our studio at Teddington or Elstree, and we filmed until I got home at 9.30 P.M., five days a week.

I want to be remembered for Swiss Family Robinson and Old Yeller. I think Swiss is probably my favorite film.

We saw 'Swiss Army Man' and fell in love with the Daniels, who are adventurous filmmakers and radical storytellers, pushing the boundaries.

When I was about 14, I got a splicing kit, which means you could chop up the film into little pieces and switch the order around and glue it together.

'Shivalinga' was a tough project - I did my own stunts in the film. I actually enjoyed it, as I play a character with many layers. It was challenging to switch between the many phases of the character.

Once you finish a film you sort of go into depression mode because the energy shift is so strong. That's what happens to me anyway; I can't cope with the switch.

I'm not switching from Bollywood to the Malayalam film industry.

Indian films have this obsession with hygienic clean spaces, even though the country's not so clean. They're either shot in the studios or shot in London, in America, in Switzerland - clean places. Everywhere except India.

I've been to several international film festivals, including those in Locarno, Switzerland; Dubai; Russia; Berlin; Cannes; Bangkok; and Hong Kong.

When I was still young and living in Switzerland, I had auditioned in Munich for a German film and was rejected. So I gave up and concentrated on my stage work. But I always wanted to make films.

It's pretty gratifying to spend so long to make your first film and then feel like it got a lot of love - that was an incredible feeling. But there's something very distorting about that much attention. It felt like such a double-edged sword.

I've done movies with a sword before. But I haven't really been given the full responsibility of something like a Ridley Scott film.

Sword fighting in film is not about how good the fighter is, but how good the actor receiving the blows is.

My 22-minute film, which I called 'The Sword and the Flute', turned out to be a romantic film about India made by someone who had never been to India, but who already had very romantic feelings about everything Indian.

Releasing a film through DTH is a double-edged sword. The opinion formed following the premiere of a film can mar or enhance its business.

Sydney and I made so many pictures together we were becoming Abbott and Costello, so we broke up. You know Greenstreet was a comedian before he played 'The Maltese Falcon' and in that picture his dialogue consisted of seven pages in a row which he memorized weeks ahead.