Explore Quotes on Film

'Perfect Sense' is an extremely serious film, and I am an extremely serious film-maker who is trying to explore the medium in original and interesting ways.

I like the idea of the audience absorbing the language and getting to understand it as they journey through the film. It starts off being more obscure, but you get used to it. A 'Clockwork Orange' thing. I read 'Clockwork Orange' without any vocabulary, and I got to understand the words as I went through it. I like that process. It immerses you.

I love film criticism as an art. I think it's a very important thing.

The very first film I ever made, when I was seven years old, when I got my hands on a camcorder, was a remake of 'Poltergeist,' which I hadn't seen yet because my parents wouldn't allow me to. But I made my own version of it, and it starred my brother in a bed sheet.

Digital is my safety net. I know how to use it, how to operate those cameras; it makes sense to me. Film is much more mysterious.

David Lynch's 'Fire Walk With Me' has a scene in it that scared me so bad that I don't remember it. I blocked the memory out - repeatedly! I've seen the film two or three times, and I can never remember what it is that scares me.

I still shoot film. I like what film does, how it renders things, Also, when I'm shooting from the air, I want to have as large a negative as I can.

All film, at the end of the day, has wish-fulfillment.

Stunt coordinating is a good training ground for directing because you have exposure to all the departments in film.

Film is a collaborative art form. I don't know why you wouldn't recognize the stunt performers.

Film is mostly a visual medium, and so the director has much more control in terms of painting pictures and painting a performance. For theater, the director does everything he can and then says, 'Out you go,' and the actors are in charge of that stage every night.

I couldn't get my first film on the air. The first film I did was called 'The Race For Space,' about the U.S.-Soviet space race. The networks had a policy that I found out about the hard way. I even had a sponsor for my program, but the networks wouldn't put it on because it was independently produced.

We couldn't predict what would happen with 'Roots.' You knew there were powerful moments that were going to affect people. We were making the film while the book was being completed. We were fortunate because the hardcover book was out and on the best-seller list. The heat was still on.

We get the impression through film and TV that Americans are violent gangsters with guns or upper-middle-class people in romcoms. I really liked the people. They were really warm. They could have been Brits. I mean that in the nicest possible way.

Flash turns up the optical volume so that whatever lies behind the lens - be it film or a digital sensor - is a little more receptive.

Low light demanded 'fast' film, usually ISO 400 or higher; the fastest available would be about ISO 1000. When the sun was bright, you would reach for ISO 64 to avoid the burned-out look of overexposure.

The future of American film lies on television.

In those days, the early 1980s, TV and film were interchangeable.

I thought if I was lucky it would be a nice, modest-sized, modest-budgeted film that would be a modest success. And then something happened.

It's really wonderful that it's the whole franchise being recognized and it's a collective award. Each film has anywhere between 2,000 and 6,000 people working on it and so really the award is for each and every one of us. We are like a family.

It might sound odd, but I want to thank Michael Bay because he's been saying how important it is to show 3D with the right luminescence. And that's very important for this film, a lot of which was shot at night or with very low illumination.