Explore Quotes on Film

The bond company comes in if you exceed your costs; they're the insurers of the film. In the worst-case scenario, they take over the production.

I don't think there's any more synesthetic medium than film.

Making a film is so scary, and there's such a kind of void that you're working from initially. I mean, you can have all the ideas and be as prepared as possible, but you're also still bringing people together and saying, 'Trust me,' even when you don't necessarily trust every element.

'Mildred' was the first film I shot on Super 16 with Ed Lachman, and we decided to continue doing so for 'Carol.'

I worked with Jim James on my film 'I'm Not There' - he sang 'Goin' to Acapulco' with Calexico backing him up. We just hit it off, and it's such a beautiful moment in that film.

The best love stories on film are rooted in the point of view of the more woundable, vulnerable party, the more amorous party.

There are many artists that I know exactly where they are born and what their names are and where they live, which are still very, sort of, hidden. Even Nick Cave, who has a film about himself nowadays, is still someone who I would claim to be utterly enigmatic.

In an alternative life, I would have loved to work in film - I love film.

'The Conjuring' is incredibly effective and scary without the use of blood, gore, and death. It's a horror film that emphasizes atmosphere and suspense in the tradition of classics like 'Psycho' or 'The Others.'

The deal is that you can do it, you don't really owe me anything, but at the end of it, I own the film. Then I can actually go out and reprint or not reprint if it I want.

Prior to doing a 'Bond' film, I was a young actor doing classical theater and some BBC dramas. Then, suddenly, I was thrown into this franchise. I had never experienced anything like it.

They sent me the script, and I was dubious at first. I said, 'Lost in Space? They're reviving that? They tried to do that with the film, and it didn't work.' And then I read the script, and I actually liked it.

I studied screenwriting at film school and was constantly learning how to construct three-act dramas.

I'm a filmmaker; I want to make films. I don't want to sit in a hotel room waiting to make films, and I can control my thing in Denmark; I can make the film I want to make... of course, I have to write a good script, all that, but if I do my job, it will happen.

After film school, I would write 8 hours a day on film and 8 hours a night on TV, and then sleep once and a while.

The most attention I get is in a book store or video shop when I go to the foreign film section. Sometimes that can be fun, but usually those women want to talk about philosophy or something very dense. It's not like they're tearing off my shirt, you know.

'Saw' is a particularly popular film with 14-30 year olds, so I'll be at a playground and meet six or 10 skateboarders who just wanna talk about 'Saw.'

One of the first speaking roles I had was in a film called 'Svengali', with Peter O'Toole and Elizabeth Ashley. I was a waiter, and I had about three lines. And I was ready! I had been around people like that, and I knew they were just actors. All the work I had done, it was all there, and I felt like I knew all the mechanics.

I was under contract with Hitchcock before I even met him. They wouldn't tell me anything about the film, or who was working on it. They had all sorts of excuses as to why they couldn't tell me anything.

Happiness comes from different things. The kind of exposure and reach you get from a film, it makes you happy. Any film that you do has a lot of reach.

I want to do an action film, I would love to do a period drama, a biopic, a crime story.