Explore Quotes on Film

It's always a challenge to shoot a period film and not have it look like you hit the tea stain button in post.

I don't love cinematography that's very flashy because I find that it keeps the audience from becoming a part of the film; it becomes sort of self-reflective.

A period film is a gift for a cinematographer.

It would be naive to say that you could make a movie on film for the same price you can digitally.

I think 'Sound of My Voice' was the first film where suddenly I could point to something I had done that I was proud of and say, 'Look at this piece of work.' And that's probably what led to 'Fruitvale Station,' which was the real break.

I gravitate much more toward realism, realism in the work that I do, but magical realism got me hooked on film. I think it was my first time realizing that there was something besides popcorn movies.

As an actor, I feel my job is to perform with utmost honesty and then it is just the film's fate. Of course, you want as many people as possible to watch your film, but there are too many factors and circumstances that come in between.

Even I had a lull period in between when I was sitting at my home without work for a year and a half. There was a time when I did not know whether my film will be made or not. I had no clue back then, but I did not sit and complain.

Even befor doing this film, I've always been interested in mythology.

I always like to look at things and think, 'Would I be proud to bring my grandma and grandpa to come see me in this?' And if I wouldn't want them to see it, then it's not something that I should immortalize myself on film in.

I got this secretive, very secretive email from my agent saying, 'You have an audition for Marvel, no one's letting us know what the name of the film is, but are you available on this day? That's all we know.' And I went, 'OK, well, I think it will probably be 'Thor,' because Taika's got it.'

'Whale Rider' was quite an extraordinary shoot. We were in that community on the east coast and so much of what you see in that film was very present.

It's really idealistic and hippy-dippy but I do believe film is a really powerful tool for reaching people.

I just haven't had that level of ambition in terms of being a lead in a film or a TV series because I'm really content.

A really irritating thing when you're watching a film is if somebody's accent isn't bang-on - it distracts you from getting into the story because you're thinking: 'Where are they from?'

I'm not dark; I'm not. The main thing I consider in accepting a role is less the tone of the movie and more whether I think it's a good film, whether I like the character and whether I think I could do it. I don't think, 'Oh, I've done X amount of dark films.'

I've been a victim in every film I have done so far. It would be nice to play someone who doesn't get killed for once. Then again, I am getting really good at screaming and fake tears.

I live in Surrey, but up until the age of eight I lived in London. And the way I heard about this 'Peter Pan' film was there was an open-call audition that I'd heard about, or read about, and I just thought, 'Oh, I'll go along for the fun.' Because I never dreamed in a million years I'd ever get it.

Part of the excitement of doing independent film is the complete unknown of what lies in store for the film's future.

I'm not doing an item number in any film.

'Bengal Tiger' is huge film for me, and I had a blast working with both Ravi Teja and Tamannaah.