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When you use film, you use accidents, but there aren't any accidents with digital photography. I don't mind that it's easy. But I do mind that there is a sort of consensus with the camera and the subject and the light, and you look at something, and you photograph it, and you get what you see.
I did a film on Muhammad Ali before he was champion. I was there when he became champion in 1964. I was happy to be able to document the development of a real American hero.
I like film. I'm old fashioned.
I was making a film on Muhammad Ali in 1964, and I went to Miami to film everything around the fight for the world championship with Sonny Liston. I had the good luck of flying down to Miami, and there was one empty seat, and the guy sitting next to this empty seat was Malcolm X.
I like festivals of all kinds: in 1969, I made a film about the first Pan-African festival in Algiers, which celebrated the countries that had been liberated 10 years earlier. There was a tremendous feeling of kinship.
If a film is a real knockout like 'Raging Bull,' it does not matter that it might not have happened like that.
Every single second of extra time to work with other actors has definitely always, for me, paid off for the film. For the project. Every single extra heartbeat you could get, mutually considering the scene, was of benefit.
I am constantly asked, 'What's the difference between acting in the theater and acting in film?' The only answer I can give is the space - you adapt to the space. But acting is acting.
I've been doing theater for a long time, so that's something I understand. I'm such a babe in the woods when it comes to TV and film. I'm still learning. It's exciting.
When I watch a film I get swept away. I don't really watch the camera.
The informing idea of what you want to say and do, that's what will take you from film school to professional - the idea. That's what is original to you.
I tend to be attracted to characters who are up against a wall with very few alternatives. And the film then becomes an examination of how they cope with very few options. And that's, I guess, what interests me in terms of human behavior.
But I'm not, I'm legitimate, I'm a legitimate character actor of the theatre and film.
'The Waterdance' was made for all the right reasons. Everybody that was involved in the film gave it their all.
'Things To Do In Denver When You're Dead' is one of the most underrated films. There were even different cuts of it. A wonderful film.
Warren Beatty is a great director. I wish Warren would direct another film right now, because I'd love to do another film with Warren. I think that 'Dick Tracy' is an outstanding film in its own right.
'Extreme Prejudice' is the last of the Mohicans. I don't think we'll ever see a film made like that again.
When you work on a Jerry Bruckheimer film, you can be sure of two things: no production value will be spared, and the catering will be as fine as any really really good restaurant. Jerry is an amazing producer, with a commitment to his films second to none.
The process of making an independent film is like building a mini Eiffel Tower with popsicle sticks - it doesn't happen overnight, and it's not easy.
If you can't get tax breaks, then there's no reason to film in a city or state.
I have always thought if you are going to make a film, it's much better to have an original script that will play to film's strengths.
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