Film Quotes - Page 50

Angel was the first Irish feature film. Neil's first movie and my first movie.

We've always been observant of things, and I think Crackdown was very much like that and the film interpretation was that journalistic view of that situation.

Oh, it takes a lot for me to walk out of a film.

The only way you can learn about making films is by making them, by putting your stamp on the thing.

The main jokes in this film are about big things, love and life and zombies - we all get that.

Films that rely on their cast to be funny are often episodic and feel like a series of loosely connected sketches rather than a satisfyingly structured script.

Everyone I've worked with on any film will say I'm the hardest worker.

I got an agent and went up for the part of my first film, Five Gates to Hell.

When what's around you - such as scripts, or like me being on the show and playing 18, now me doing this film playing 18 - it's kind of been what's been there for me.

It's always hard to be away and relocate. When you relocate for a film, there's an end in sight.

You have to make a film and make it interesting, so you can't have a shot of you cleaning your teeth just because you did that. It's boring!

Garrel has succeeded in filming something we have never seen before: the faces of actors in silent films during those moments when the black intertitles, with their paltry, illuminated words, filled the screen.

I know how to write. So I am not totally at the mercy of filmmakers, but it's not a bad point.

The film is a romance with songs and dances, aimed at a family audience.

You're never in control. That - that is the greatest fallacy of the - you know, there's over 200 people that it requires to make a film. And there's people who are in control of how you look, what your performance is, what takes are used, what - you're only in control of how you say no.

I've been fortunate to be in films that are classic, that are going to be around.

At some point I will try balut. I will make sure that I will film it

Every filmmaker knows that when you make a book into a movie, the first thing you have to do is kill the book, unfortunately. You've got to recreate it.

When I started in films, it never really occurred to me that I could make a career out of acting.

In orthodox film-making, you never shoot sequentially - but with improv, obviously every move you make has a knock-on effect; it is a cumulative process. I have improvised, on the non-scripted 'Timecode.' It can become entirely indulgent: actors smashing crockery and competing verbally.

I've made 30-plus films over 20 years. And in my opinion, five of them are good.

My personal problem is that I take the business of film-making so seriously that I find it very difficult to relax.

I'm more critical of the films I make than anyone else.

I know the best moments can never be captured on film, even as I spend nearly half my life trying to do just that.

In my films that I've directed, and my work in commercials and videos, I've rarely used handheld. It's just not something I'm drawn to, but I've seen it done very well.