Quotes About Films

In the beginning of our career, we want to make an identity, and I am happy that people think I have good comic timing, and they are casting me in films.

I forget who said it, but there's that saying: 'Films are never finished, they're abandoned.' There's always something you think you can improve on, but I don't think you should try. George Lucas started doing it, and didn't stop. You can tinker indefinitely, and it doesn't necessarily make it better.

You've got these big studio films and these tiny independent films now. It's very much either/or. With the independent films, it's always a beautiful risk - it might never be seen. With the studio films, you're conforming to the formula of what's always been in place.

I have always wanted to make a series of films which would be like an 'emotional history' that conveys what it feels like to live through history as an experience rather than a grand story. It would be about the relationship between the tiny fragments and moments of personal experience, and the continual backdrop of big events.

I think films are a really small target. They're really hard to make, and they're a really tiny target.

I want lot of luck and want all my films to be really super hits. I don't want to hear that the film is not good, but you did a good job. I am tired of hearing that. I am hoping for little luck so that my films do really well.

I'd like this to become my principal activity: to make films about animals. Of course it's always interesting to model, but it depends who you are working with. I will continue to make acting, too, but I'm old - I'm getting tired of it.

In Denmark, we're making 20 films a year. If I'm showing up in even two of those, people will get tired of me really fast.

In the dear dead days beyond recall, when I was in my prime as a film critic, the industry was booming. Hollywood, to give them their due, always called it the industry, through quite a few imagined it as an art form and went through several hours regularly at tiresome films in the sacred cause of art.

I think I've definitely found a niche working in comedy, but dramatic films are what brought me here. After I saw 'Titanic' in the theater, I got the bug.

I love 'Titanic', I love 'Romeo & Juliet', those are my favourite films, and so it's crazy to think that people wouldn't connect with 'Feel Good', it's just a love story.

There's nothing new about women playing pivotal parts or title roles in films. Women in strong characters have always been accepted. It has been this way for years.

If you work with big stars, then they become the lead actors. It's not that I don't want to do films with big stars, but I would rather do the films where I get the title roles.

The UTV/Disney fit works because UTV Motion Pictures was already very strong in producing and creating its own films beyond just co-producing, acquiring or distributing titles.

I don't really watch a lot of TV, to be honest. I'm more of a movie girl, or I Netflix stuff.

To be honest, I watch way more dramatic films when I'm chilling at home. I think when you work in comedy, you just want something different in your private life. Makes you feel balanced, I guess.

To be honest, many of my well-wishers want me to play the solo lead in films. Maybe, it's time to think about it. In fact, I have cut down on signing up multi-starrer films.

To be honest, I make very controversial films. The films that I've made have been very, very bold choices.

A lot of films need planning in order to survive at all. It's part of the dog and pony show.

For me, my realism has stood me over 15 years, so the kind of films that I have done has garnered enough respect for me to be able to survive the industry.

The first time I was paid was with 'The Lobster,' because with the Greek films, we just had to pay ourselves - work for free while making commercials in order to survive.

Independent films are the ones with the great possibility of keeping you on your toes, challenging your craft and skills, and forcing you to learn something new.

My father was, like, the token bad white guy in all the old Jackie Chan/Bruce Lee films.

I always had a sense that I would fall in love with Tokyo. In retrospect I guess it's not that surprising. I was of the generation that had grown up in the '80s when Japan was ascendant (born aloft by a bubble whose burst crippled its economy for decades), and I'd fed on a steady diet of anime and samurai films.