Film Quotes - Page 24

I did a film called 'Fort McCoy,' based on a true story of one of the few internment camps during WWII that was actually in the United States.

Boldness, sensuality and an unapologetic way of showing things, that is part of my films.

I have a nervous breakdown in the film and in one scene I get to stand at the top of the stairs waving an empty sherry bottle which is, of course, a typical scene from my daily life, so isn't much of a stretch.

To sit through a film where you're just unmotivated to be interested in a character is probably the worst thing that could ever happen.

I was able to capture on film things the actors didn't even know they were doing.

One of the biggest changes for me on a practical level of shooting the film was having a second unit.

You create a work of art. You do not know whether it will get public sanction. Sometimes outstanding films do no business, and sometimes films which are not so good work.

We mixed the sounds ourselves. If they were going to put the sound back onto our film [Pink Floyd: Live at Pompeii.], we wanted to mix it ourselves.

Magicians are the people who began to use film as an illusion on stage.

Filmmaking is such a collaborative medium.

The nerds are the ones that make the films and do loads of other really cool stuff in their life.

I will never, ever do a film as successful as the Harry Potter series. But neither will anyone else.

You can't do something that is morally vacuous or dysfunctional and then write it off saying, 'It wasn't my film, I was just doing a job in it.'

I don't think of myself as a director or writer. I think of myself as a filmmaker.

When you're making a movie, you can't think anybody will ever see it. You've just got to make a movie for the values it has. The greatest films were made because someone really wanted to make them. And, hopefully, the audience will show up, too.

Once you finish a film, it doesn't belong to you anymore - it belongs to the audience to interpret it the way they feel like interpreting.

Working with Marilyn Monroe on The Misfits (1961) nearly gave me a heart attack. I have never been happier when a film ended.

For at the hour of death you became a celebrated film star, it is a moment of glory for everyone, when the choral music scales the top notes.

Filmmaking is to me very similar to being in a café somewhere in Paris and looking at the people walking by.

When I first read Lord of the Rings I wanted to see a film of it. But at that time the technology wasn't there, there was no such thing as CGI.

I would've been intrigued by being a film director. I would've been intrigued by politics. I thought about architecture.

It's very, very tempting to make a superhero film or show and make it about the powers.

For film and television, it's interesting how fans feel that their particular ways of manifesting their affections are the correct ones. It's not just about being a fan, it's about how you perform your fandom. That's always been interesting to me.

Elizabeth Taylor is, in my opinion, the greatest actress in film history. She instinctively understands the camera and its nonverbal intimacies. Opening her violet eyes, she takes us into the liquid realm of emotion, which she inhabits by Pisces intuition. Richard Burton said that Taylor showed him how to act for the camera. Economy and understatement are essential. At her best, Elizabeth Taylor simply is. An electric, erotic charge vibrates the space between her face and the lens. It is an extra-sensory, pagan phenomenon.

Editing is now the easiest thing on earth to do, and all the things that evolved out of word processing - 'Oh, let's put that sentence there, let's get rid of this' - have become commonplace in films and music too.