Film Quotes - Page 17

When I started out in independent films in the early 70s, we did everything for the love of art. It wasn't about money and stardom. That was what we were reacting against. You'd die before you'd be bought.

I'm a film doll. But I'm enjoying it. So I'm gonna keep doing it.

Language is much closer to film than painting is.

Rob [Tapert], myself and Bruce Campbell sat in hundreds of drive-insnot hundreds, but tens of drive-ins, watching these movies and learning how they were made, and we started to make our own in Super 8. And that’s really how we got into horror films. After a while we learned to really like them, and the craft that went into them.

One of the worst things you can do is have a limited budget and try to do some big looking film. That's when you end up with very bad work.

In science-fiction films the monster should always be bigger than the leading lady.

It's disappointing to see films become pure entertainment, so that it's not an art form.

It's hard to see a film one time and really "get it," and write fully and intelligently about it. That's a review. That's not film criticism.

The greatest drawback in making pictures is the fact that film makers have to eat.

Would I do it again? Film another movie? Oh yeah.

I don't really consider myself an American filmmaker like, say, Ron Howard might be considered an American filmmaker. If I'm doing something and it seems to me to be reminiscent of an Italian giallo, I'm gonna to do it like an Italian giallo.

I love movies, don't get me wrong. But I don't go to the cinema. I see movies at the end of the year as a glut from the Academy. I binge-watch all the nominated films. Painting fills that void now. It's oils. It's acrylics. It's figurative, portraits and landscape.

I find that in the process of making a film you're constantly discovering things that you never even imagined would work at the beginning.

When they were making black films in the '60s and the '70s, everyone knew their place, if you get my drift. You understand? Everyone knew the rules, and everyone knew their place. Everyone knew what to say. They had the written rules in Hollywood film, and the unwritten rules.

. . . you [film critics] always overstress the value of images. You judge films in the first place by their visual impact instead of looking for content. This is a great disservice to the cinema. It is like judging a novel only by the quality of its prose. I was guilty of the same sin when I first started writing for the cinema. . . . Now I feel that only the literary mind can help the movies out of that cul de sac into which they have been driven by mere technicians and artificers.

Take a film of Jacques Tati like Mon Oncle which has something quite new - for me, unique - in it.

I wanted to make a horror film about beauty.

France has given us the best filmmakers and food.

I love learning from the filmmakers that I'm working with, but more importantly, I love learning from the crew.

Well I was on the jury duty on the Deauville Film Festival, a few years ago.

My films generally center around thousands of pictures being flashed in rapid succession to create the illusion of motion.

I grew up certain for a while that I was going to be an anthropologist, until film turned my head.

I became a filmmaker because I wanted to deal with issues that intrigued me, that I thought were pertinent, that would start dialogue.

I did a film called Dracula and it was very nice because I had lots of trips to New York on Concorde.

There was a cultural war going on, the '60s was going on. All the film critics were square.