Film Quotes - Page 68

I think somewhere in the '90s, it started to shift, and you started to see a lot of film and television actors doing theater, and producers using the notoriety of the film and television actors to sell tickets.

I was aware of it but I think I was aware of it abstractly, theoretically. You know I understood who Edward Snowden was and what he did but I didn't really see the relevance that it bore in my life and doing film changed that tune pretty quick.

Film work can be tedious and sort of all over the place, especially when you have a family and you're going off and doing things somewhere else.

I never had any film training. I went to Northwestern. I studied education and theater. So it was all theater training.

I went to film school and wanted to learn everything there was about making movies.

I'm planning some films in the U.K., and it will have pros and cons. It takes a lot more time to set up a film in the U.K., because you can't rely on much. In Greece, friends show up and bring what they can and you make the film. Well, that's a bit simpler than how it really is. But when you make a film with proper industries, it takes more time to synch all these things.

Even before the economic crisis in Greece there was no structure for making films - no proper industry, and the structure didn't help filmmakers at all. So filmmakers had to help each other, and make very, very low-budget films. Now with the crisis, things got a bit worse, but filmmakers are still going to be making films. It didn't change that much.

I'm not making films just to be bold.

What is the point of making the film if the man doesn't marry the girl?

Making your first feature film is actually impossible.

Getting your screenplay right is the most important thing you'll ever do on your film.

I support all Australian films.

Some people make a great film and then they can't follow up.

I always thought it would be very funny if I was a blind film director.

I've been lucky because my films have consistently made a profit, almost all of them have made a profit. Never a huge profit, but nobody gets hurt. And therefore I get a lot of freedom.

The audience is making the film and not the film-maker.

Sometimes the critics will like a film, and the public doesn't come. Sometimes the critics won't like the film, and the public will come. It's completely spontaneous. It's a hazard.

If you don't have fun doing the film, then the results of the film will never give you any fun.

One filmmaker makes films that are deep, intellectual, profound and confrontational. And the other one makes purely vacuous, escapist films. I'm not sure the one who makes escapist films is making a poorer contribution than the one who makes the deeper films.

There's no point in looking back, because there's nothing you can really do to improve the film. You can only aggravate and wish you had done stuff better.

My relationship with American audiences is the exact same as it always has been. They never came to see my films, and they don't come now.

If my films don't show a profit, I know I'm doing something right.

You make a film and always hope you're going make "Citizen Kane" or "The Bicycle Thief." You make the film, and for one reason or another, one clicks and one doesn't, but it's out of your control completely.

This is history written in lightning.

African film makers are scraping by on a mere pittance.