Film Quotes - Page 84

I do genre films because I like them, or because I need the money.

I had always been affected by films, as well, of course - and great films.

[Frank] Sinatra, to everyone, even Tony Bennett, was such a huge influence because he had mastered not only music, but film and radio.

Phil Ramone and Quincy Jones were very close. Phil Ramone was one of the greatest record producers of all time. I don't know if they talk about him enough in the film, but he produced [Frank] Sinatra, Barbra Streisand, all of Billy Joel, Paul McCartney - Phil Ramone was one of the major record engineers and producers.

I was a filmmaker. I made movies. I made films. And I always took photos and made films, always from the beginning.

You will never see'Altman's Great Film of the Seventies: The Director's Cut' because you have never seen a film of mine that wasn't the director's cut. I have never permitted it.

Every ad for every film is exactly the same.

If something works for you, you continue to do it. I did a bunch of pictures for 20th Century Fox when Alan Ladd was over there, but I set the budgets so low that they'd approve and I'd deliver the film. They would have no say in it, which is the kind of arrangement I liked.

If you've got a huge Hollywood star in your film, they're getting $32 million, and everyone else gets their bus fare.

I have always found clowns really fascinating, especially on film. Even as a kid I was never scared of them.

Usually, I have in mind what I want to do. I shoot pretty economically, so I'm not shooting tons of stuff that I could change, all that much. I'll cut something or add a little something back, but not too much. This is maybe the producer part of me, but I'm always worried about the budget, so I shoot what I know I need to shoot for the film.

For me, if I had all the money in the world, and I could finance my own films, I would do whatever.

When you make a film and it wins some award at a very select, very difficult festival such as Cannes, it's good for your fellow film directors and fellow citizens too. Because it shows them that this way is a real possibility.

I realized painting could look like a film, and a film like a painting.

I never thought about acting before I started modeling, but since then I've been in short films and music videos, and I got interested. It felt natural to switch over.

Films like Harry Potter and Narnia, I'm sure they'll do another one. The biggest audience of course is the youngsters.

I'm pretty fortunate that I'm in the films I'm in largely because the directors have asked me to be in them. I'd love to do more of them, but the writing and historical stuff I'll probably always do.

I see myself much more as a writer/director or at least an aspiring writer/director - not necessarily in film.

I feel like I have to top myself every film I do, and it gets hard.

Do you know anything about silent films?" "Sure," I said. "The first ones were developed in the late nineteenth century and sometimes had live musical accompaniment, though it wasn't until the 1920s that sound became truly incorporated into films, eventually making silent ones obsolete in cinema.

We're all so jaded. We've seen so many movies. We know what's going to happen in every single movie. I mean, there are some movies where I'm like why do I even need to keep watching? And so, if you can make a movie in which you're completely surprising the audience left and right, and left and right, then you've won. If a jaded film critic or reporter or an audience is like, "I didn't see that one coming," that to me is like a victory.

My films are about faith, and they're made on faith. There has to be faith because making a movie, so many things can go wrong.

There's a lot of vitriolic ranting out there, but there are literally hundreds of critics on the web who care deeply about film and having something to say about it.

I first started making films - this is my first feature, but I was making shorts - I was actually freelancing as a day job at The New York Times as an art director. I actually worked with Bill Cunningham and really soon after I met him, I thought, "Oh my God, he's a perfect subject for a documentary."

I'd be fine to make movies and have them never come out. But you have to deal with the business side. You can't get too emotionally invested, because again, you've got no control. There's going to be some huge film out that everyone goes to, and it probably won't be mine.