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1902 poster of Gaumont's sound film exhibition.

Film, movie, or motion picture, is a series of still images on a strip of plastic which, when run through a projector and shown on a screen, creates the illusion of moving images.

CONTENT: A-D, E-H, I-L, M-P, Q-T, U-Z, External links


Quotes are arranged alphabetically by author

A - D[edit]

̈* We don't use the word 'evolution.' We hope to walk a very thin line. On one hand we want the scientists to say this film is right and accurate, and yet we don't want to have the church picketing the film.

  • Irwin Allen [Oscar Godbout. "From primordial ooze to primates". The New York Times. 13 February 1955. p. 113.
  • I make movies for teenage boys. Oh, dear, what a crime.
  • Michael Bay [Curtis, Bryan (2005-06-15). "The Bad Boy of Summer: Michael Bay vs. his Critics." Retrieved 2014-07-25.]
  • The mass is a matrix from which all traditional behavior toward works of art issues today in a new form. Quantity has been transmuted into quality. The greatly increased mass of participants has produced a change in the mode of participation.
    • Walter Benjamin, “The work of art in the age of mechanical reproduction,” Illuminations (1968), p. 239.
  • I've done well in my career, but I am not sitting on $22m. I'm doing this so that one negative audience comment in a test screening won't force me to change the end of my movie.
  • The traditional way is to have a financier put up the money and then sell the foreign rights. What I did, was to say to my fans, 'If you and I provide the capital, we don't need some rich dude dictating how we make the movie; we can then go sell foreign distibution and we'll be all the way to our goal. Are you interested in that
  • Zach Braff [1]
  • My images come out of the process of making film. I do really think that movies work on the level of dream logic. However realistic or narrative they might like to think they are, they are dreamlike.
  • In Dead Ringers you get a body split into two (the twins) with basically, one mind. Just doing that is like an experiment in a lab—which all my movies really are. I set out to see how they work, to illuminate something for myself by doing these experiments.
    • David Cronenberg [2]
  • A film is a petrified fountain of thought.
  • People often repeat the fallacy that "film is a passive medium". The statement is usually elaborated like this: "When I read a story in a book, I have to use my imagination to conjure up what the characters look like, the sound of their voices, the appearance of their surroundings, the house, the landscape. When I see a movie, those things are all nailed down for me, so I don't feel as involved." What the person is describing are the most obvious aspects of a given story, that is, its physical properties. They are, in fact, the least interesting and least important components of a story. I do not read books in order to imagine the physical appearance of things.
  • A good film is one that requires the viewer to create, through an orchestration of impressions, the meaning of its events. It is, in the end, our ability to create meaning out of the raw experience of life that makes us human. It is the exercise of our faculty to discover meaning which is the purpose of art. The didactic imparting of moral or political messages is emphatically not the purpose of art -- that is what we call propaganda.
  • It's a universal tendency in films to be more about sex and violence than the real world is, but I would pose the opposite question: Why are so many characters that you see on TV so desexualized? A lot of them seem to be completely asexual — especially animated characters — and it implies that those characters are normal. The characters in Aeon Flux are normal people who have normal sex lives and appetites.
  • There are many, many different kinds of horror films too. It’s quite a complex genre from almost pure drama to, I don’t know, Nightmare on Elm Street or Friday the 13th, which is more this kind of tear down all the barriers to decency or just to put arrows through people’s eyes, which has its own delicious kind of iconoclastic-ism to it. So, I think it’s a wonderful genre and the fact that it can rise to this level and still survive and help studios survive is a great thing, because we get to do our work. We, myself, Dennis, I think will do many different kinds of films, and the studio’s going to make money and we can do something that we find interesting. It’s a great thing.
  • The odd thing was that the more cartoonish - 300 is a great example, where the blood flies off and disappears halfway to the ground, and everything - or like in a Terminator film where there’s gunshots and everybody’s falling out of buildings and everything else, but you never believe really – you don’t see anybody suffer or land on the ground and then groan for an hour. So when you do something, when you say, well, violence is ugly and hard and when it happens to somebody, the truth is watching them for awhile when they’re going through it, they don’t like that. I think within the MPAA mentality this is all entertainment. It’s supposed to be entertaining and therefore shouldn’t hurt anybody’s psyches, and in case the mythological child wanders into the theatre, they should be able to not be damaged and become Lee Harvey Oswald. It’s a totally different mindset from we who feel like we’re dealing with a tough subject and it’s fair to make a tough film and that the truth ultimately never hurts so much as illusion does.
    • Wes Craven [3]
  • Rob Reiner for his 40th birthday had a bad show business party where everybody brought show business clips. Rob's was playing a hippie on Gomer Pyle: USMC (1964) singing 'Blowin' in the Wind'. Virus (1999) is so bad that it's shocking. That would be the all time piece of shit. It's just dreadful. That's the only good reason to be in bad movies. Then when your friends have [bad] movies you can say 'Ahhhh, I've got the best one. I'm bringing Virus (1999).
  • Davis: I think for me, every film, there needs to be a point to it. There needs to be a moral lesson that the audience can take away. At the same time, I don’t like to oversimplify it or shove it down their throat — it really needs to be implicit in the story. So it was important to really have the themes and the lessons coming out of Lucas’s journey come out of the story, without feeling like you’re talking down to the audience. So I was really careful to try to balance that, to make it clear that kids understand and parents understand what the story’s about, and what Lucas’s journey is. But kids are really sharp. They pick up on everything. So I don’t think you need to oversimplify things for them. And in our early test screenings, it was clear that they totally got it, and really responded well to the story.
    • John A. Davis [5]
  • While the film Life of Christ was rolling past before my eyes I was mentally visualizing the gods, Shri Krishna, Shri Ramachandra their Gokul and Ayodhya.. I was gripped by a strange spell. I bought another ticket and saw the film again. This time I felt my imagination taking shape in the screen.Could this really happen? Could we the sons of India, ever be able to see Indian images on the screen. The whole night passed in this mental agony.
  • He brought the first movie camera from Germany, but nobody knows what happened to it afterwards. Maybe it is lying with some antique collector. There were absolutely no film-making facilities - production or distribution - available as people believed films had no future. But, whatever he did from scratch set a precedent for the future generations of film-makers.
    • Dadasaheb Phalke's grandson Kiran Phalke in "Dadasaheb Phalke's family wants Bharat Ratna for him".
  • I can no longer think what I want to think. My thoughts have been replaced by moving images.
  • … a pastime for helots, a diversion for uneducated, wretched, worn-out creatures who are consumed by their worries, … a spectacle which requires no concentration and presupposes no intelligence,… which kindles no light in the heart and awakens no hope other than the ridiculous one of someday becoming a ‘star’ in Los Angeles.
    • Georges Duhamel, describing cinema, Scènes de la vie future (1930), p. 58.

E - H[edit]

  • American capitalism finds its sharpest and most expressive reflection in the American cinema.
    • Sergei Eisenstein (1957) Film form [and]: The film sense; two complete and unabridged works. p. 196.
  • I always say a screenplay is the big plain pizza, the one with tomatoes and cheese. And then the director comes and says, “You know, it needs some mushrooms.” And you go, “Put mushrooms on it.” And then the costume designer throws peppers on it, and – and pretty soon, you have a pizza with everything on it. And sometimes it’s the greatest pizza of your life and sometimes you think, “Well, that was a mistake. We should have left it with only the mushrooms.”
  • American motion pictures are written by the half-educated for the half-witted.
    • St. John Ervine Ney York Mirror(June 6, 1963).
  • Cinema is an old whore, like circus and variety, who knows how to give many kinds of pleasure.
  • The public has lost the habit of movie-going because the cinema no longer possesses the charm, the hypnotic charisma, the authority it once commanded. The image it once held for us all, that of a dream we dreamt with our eyes open, has disappeared. Is it still possible that one thousand people might group together in the dark and experience the dream that a single individual has directed?
  • A good opening and a good ending make for a good film provide they come close together.
  • Nooo! Leave that to George Lucas, he' s really mastered the CGI acting. That scares me! I hate it! Everybody is so pleased and excited by it. Animation is animation. Animation is great. But it's when you're now taking what should be films full of people, living thinking, breathing, flawed creatures and you're controlling every moment of that, it's just death to me. It's death to cinema, I can't watch those Star Wars films, they're dead things.
  • [Steven Spielberg's films] are comforting, they always give you answers and I don't think they're very clever answers. … The success of most Hollywood films these days is down to fact that they're comforting. They tie things up in nice little bows and give you answers, even if the answers are stupid, you go home and you don't have to think about it. … The great filmmakers make you go home and think about it.
  • The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn’t.
  • Photography is truth. The cinema is truth twenty-four times per second.
    • Jean-Luc Godard, Le Petit Soldat (film) (direction and screenplay, 1960)
    • [variation] Cinema is truth at twenty-four frames a second.
  • I remember Rock and Rule. Nice film, loved their layouts. Not sure I would call that a children’s film. It came out the same year as The Secret of NIMH (1982). Children’s films do make money. However, like Don says, if the film is directed to children the film’s budget will have to be modest in order to guarantee a return for the investors. To compete in the big feature-length markets, budgets would have to be in the $50M plus zone, have a strong story, fun characters and music that will entertain little kids and adults alike.
  • Gary Goldman [6]
  • A wide screen just makes a bad film twice as bad.
  • Re-Animator was released unrated, which is very seldom done, but it allowed us to do anything we wanted to. With From Beyond, they insisted that it be rated R, which meant that it was more restricted in what we’d be allowed to do.
I think that the MPAA, which is the ratings board in the States, they were angry about Re-Animator, with it having gone out without a rating. They kind of took that out on From Beyond and cut it to ribbons - but luckily I was able to put it back together a few years ago. I found all the pieces that had been censored, and I was able, thanks to digital technology, to put it back together again.
But I think that there are still people who are making movies that are still pretty interesting and disturbing. I saw A Serbian Film a few years ago and that totally knocked my socks off. Oh boy, it’s a terrific movie. Very, very strong, very well made. The Human Centipede was another one. A really great concept. An extremely disturbing film. So, you know, people are still making those kinds of films.
  • Stuart Gordon [7]
  • If you want to be a storyteller, be an author, be a novelist, be a writer, don't be a film director. Cinema is not the greatest medium for telling stories. It is too specific, leaves so little room for the imagination to take wing other than in the strict directions indicated by the director. Read "he entered the room" and imagine a thousand scenarios. See "he entered the room" in cinema-as-we-know-it, and you are going to be limited to one scenario only.
    • Peter Greenaway, "105 Years of Illustrated Text" in the Zoetrope All-Story, Vol. 5 No. 1.
  • There’s about 12, I think, 12 to 13 directors, and essentially a story trust. We consider the story trust the writers as well. Actually heads of story as well. It’s actually whoever you could pull in.
  • Film is an artificial construct. It pretends to reconstruct reality. But it doesn't do that—it's a manipulative form. It's a lie that can reveal the truth. But if a film isn't a work of art, it's just complicit with the process of manipulation.
    • Michael Haneke as interviewed by Richard Porton, "Collective Guilt and Individual Responsibility: An Interview with Michael Haneke," Cineaste, Vol. 31, No. 1 (Winter 2005), pp. 50-51
  • Today's conventional cinema, or mass cinema, doesn't take the receiver seriously as a partner. It sees the audience member as a bank machine, whose only function is to spit out money.
    • Michael Haneke as interviewed by Richard Porton, "Collective Guilt and Individual Responsibility: An Interview with Michael Haneke," Cineaste, Vol. 31, No. 1 (Winter 2005), pp. 50-51
  • If you want to do a film, steal a camera, steal raw stock, sneak into a lab and do it!
  • Film is not the art of scholars, but illiterates.
  • As you see [filmmaking] makes me into a clown. And that happens to everyone – just look at Orson Welles or look at even people like Truffaut. They have become clowns.
  • I so desperately hate to end these movies that the first thing I do when I'm done is write another one. Then I don't feel sad about having to leave and everybody going away. That's why I tend to work with the same people; I really befriend them.
  • John Hughes [9]

I - L[edit]

  • When I was – well, also in the seventh or eighth grade, I chanced to see all the film that was used in evidence at the Nuremberg trial, and it was an eye-opening, shocking experience for me to see what those death-camps had been like in World War II. I had never heard of the word ‘holocaust’; I had been raised in a very anti-Semitic, bigoted household and heard hate-words and racial slurs all the time; every day of my life, as I was a kid growing up.
And for some reason I just knew instinctively that it was all not right [laughs]. So I turned in a different direction from that, and when I had an opportunity later on to do pieces of work that could strike out against discrimination and prejudice and intolerance, I embraced the opportunity and took it on.
  • Kenneth Johnson [10]
  • ‘Daredevil’ was an R and I had to cut things out to make it a PG-13 and this is just like, there is so much stuff in it that I thought, ‘Oh my God, we’re dead.’ But we made it which is amazing. You know what’s funny is that what made ‘Daredevil’ an R is there was this scene where Bullseye kills Elektra, he gutted her – that was okay. He kissed her afterwards and then he threw her down. The kiss gave us an R. Isn’t that weird? Its okay to kill a girl, but you just can’t kiss her afterwards because somehow that’s repulsive. I don’t know.
  • Steven Johnson [11]
  • You have to think of it as an entirely different thing. With Guardians, I thought, “I don’t want to just make a movie of the book. I want to make a movie.” I wanted to evoke the world I created, but I wasn’t tied to it. Movies evolve and change, so if you’re trying to adapt a book, it can be frustrating to see whether something belongs in a movie or not. It’s easier to look at it as a separate thing and evoke the spirit of it. You have to do that. Books are books, and movies are movies. The best thing is to think, “Let’s make the best movie we can."
    • William Joyce [12]
  • The words "Kiss Kiss Bang Bang," which I saw on an Italian movie poster, are perhaps the briefest statement imaginable of the basic appeal of movies. This appeal is what attracts us, and ultimately what makes us despair when we begin to understand how seldom movies are more than this.
  • A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what’s behind the emotion, the meaning, all that comes later.
    • Stanley Kubrick, Kagan, Norman (1989), The Cinema of Stanley Kubrick, New York: Continuum Books.
  • A film should appeal to sophisticated, profound-thinking people while at the same time entertaining simplistic people. A truly good movie is really enjoyable too. There’s nothing complicated about it. A truly good movie is interesting and easy to understand.
  • Akira Kurosawa as quoted in Kamiski, Michael (2007). The Secret History of Star Wars(PDF). p. 48. Retrieved 2011-01-31.
  • I had complete suspension of disbelief—really, I was eight years old and it transported me. I was on that beach running from that dragon, fighting that Cyclops. It just really dazzled me, and I bought it completely. And so, I actually sat through it twice and when I got home, I asked my mom, “Who does that? Who makes the movie?”
    • John Landis Interview by Robert K. Elder. The Film That Changed My Life. By Robert K. Elder. Chicago: Chicago Review Press, 2011 N. p. 223. Print.
  • Marketing does have a lot to do with the success of a film. But even more so, and especially since home video, I've learned that a movie has a life of its own. A movie goes out there, and it exists, and it continues. I'm always fascinated by what movie people bring up when they approach me. Animal House is interesting, in the U.S., because of how many people—including President Bush and Senator Kerry—say it's their favorite movie. You know that George W. Bush thinks he's a Delta. You know that they think they're the good guys. It's just fascinating to me. That picture really spoke to people, and it continues to speak to people. I also get Blues Brothers a lot, especially in Asia and Europe. I get ¡Three Amigos!, I get Trading Places, I get "Thriller" a lot around the world. But you never know what's going to touch somebody. I was in the Czech Republic, and this major Czech critic came up to me and said, "Oh, Mr. Landis, I've always wanted to meet you. You made my favorite film." And it turned out to be Spies Like Us, which is this completely silly Cold War comedy that I made. It turns out that during the Soviet occupation of the Czech Republic, it was pretty severe. They were crushed, and there were very strict rules. This critic, his father had built a satellite dish, and he stole the movie from Rupert Murdoch's Sky Channel, and basically had a bootleg tape of Spies Like Us. He told me that people used to come and sit in the garage and watch Spies Like Us, like these secretive meetings. I said, "What about Spies was so enthralling?" And he said, "You were making fun of the Russians and the Americans." They just found it so liberating and exciting, that it was mocking what was oppressing them. It had never occurred to me that Spies Like Us would be inspiring to people. So, you know, you make a movie, and it goes out there and has a life of its own.
  • Hitchcock branded himself as the master of suspense, but he was also great at humour. The truth is, and it’s something both academics and movie studio executives don’t really understand, is that if you can direct a movie you can direct any genre. It just means telling a story by the juxtaposition of images, you know. If you can direct a science fiction movie, you can direct a western. You can direct a musical. You can direct a film noir or a comedy or a horror picture. The process is exactly the same.
  • The last movie I was offered by a major was a superhero one — if you look at these movies, even Iron Man and Sam Raimi’s The Amazing Spider-Man , which were good, they’re still the same movie. There comes the moment where they just become CG extravaganzas. And I’m just tired of seeing cities destroyed.
  • It’s always been called the movie business. Not the movie craft. So it’s critical to talk about the state of the industry. It’s a strange time but the business is evolving. They’re much less diverse, the multinational corporations.
  • It's very common now to spend more money selling a movie than making a movie. So the reason they make remakes and sequels is because they're brands, like Coca Cola. They remake movies because they have presold titles. It's tragic, because you have things like Tobe Hooper's The Texas Chainsaw Massacre, which is a brilliant movie, and yet the remakes have made a lot more money
  • When I did Animal House, I could point at the studio and tell you who owned it: Lew Wasserman was Universal, David Begelman was Columbia, Arthur Krim was United Artists, Steve Ross was Warner Brothers," Landis recalled. "I don't know who owns these companies now. There are no individuals who say, 'Sure, I'll take a risk.' Because the risks are now huge! I'm not that old, but many of my movies made more money the second, third, or fourth week, because we used to have what we call word of mouth. Now if a movie doesn't make money its first two days, you're f---ed!
  • There will always be good movies being made. It's just harder and harder to see them. And the studios are no longer interested in making good movies -- they're interested in movies that will bring you in. So you have movies like Avatar, or Alfonso Cuaron's Gravity. It's wonderful to look at. Now, is it a good movie? No! But it's entertaining, and it's a spectacle and technically astonishing.
  • I was very pissed off by what Universal did to me on ‘Blues Brothers 2000′ and that was my first experience with the new corporate Hollywood. It’s very different. Everything is by committee now, and they destroyed that movie, though the music is still good. This happens to filmmakers all the time, where producers and studios fuck with their picture, and when you’re promoting the movie you can’t say that. [Laughs.] The directors get blamed for things that are clearly not their fault. But the bottom line is, I enjoy filmmaking, I really like it and it’s a pleasure and I certainly don’t want to take some principled stand against the majors. I would be delighted to make a studio picture, but the truth is, if you look at the films they’re making, they are not the movies I want to make. I don’t want to make ‘Thor.’ [Laughs.] …It’s a combination of economics and we live in a very conservative and reactionary and frightened time. People are scared shitless in terms of taking risks on movies. Would the studios ever make a movie like ‘Into The Night’ now? Or even ‘Animal House?’
  • The culture is unchallenged as the standard setter, and the child’s sense of right and wrong and his priorities in life are shaped primarily by what he learns from the television, the movie screen and the CD player. And more recently, the Internet can be added to this list.
    • Joe Lieberman, In a lecture at the University of Notre Dame, Awake! magazine, April 8, 2000; Are Morals Worse Than Before?

M - P[edit]

  • It's a lovely script. I like the simplicity of it and the beauty of it. Some of the Pixar films, you know, they've got those double entendres in it for adults, and some of the jokes truthfully I think when you're with your 6 year old you have to say, "Daddy, why is it funny when the cookie says eat me?" And you have to say, "Uhhh, because if you ate him he wouldn't be there, would he?" This doesn't have any of that in it. It's so pure and clean. It's about keep swinging, don't give up."”
    • William H. Macy [18]
  • A motion picture must be true to life. If a picture portrays a false emotion it trains people seeing it to react abnormally.
  • The talkies are the only art that would attract Leonardo da Vinci were he alive to-day. This art is a baby giant, as clumsy as all babies are...we don't know what the baby will be doing and saying when it grows up. But we are sure it will make its mark in the world.
  • Sound and talking undoubtedly increase the entertainment value of a picture. There is a distinct conflict, however, between a pictorial and sound elements, which cannot be entirely avoided until third dimensional pictures are made.
  • Not even the church is so powerfully equipped to serve the public psychologically as is the motion picture company.
    • William Moulton Marston as quoted in Henry W. Levy's, "Professor to Cure Scenarios with Wrong Emotional Content: Dabbled in Movies While at Harvard; Now Sought By Hollywood with Offer of Favorable Contract", New York University News January 1929; The Secret History of Wonder Woman (2014) by Jill Lepore, p. 137.
  • I think films are about having a good time, so I don’t know that there’s a message. There is a message in the film about friendship and how valuable it is, but I really wouldn’t want a kid to walk out and go, “Wow, friendship is valuable.” I’d rather they say, “Wasn’t in funny when?,” or “Gee, I cried when,” and let that message be in their heads, a week later or a year later. The message of a film is always what a critic writes, and the fun of a film or the emotion of a film is what the audience feels.
  • I wanted, at the time, to have the story structure follow the book, in which you would go to flashbacks, but they didn't want to do that, and accordingly, I think the first part of the film is the dullest. I tried to write my novel that way originally, interestingly enough, and it didn't work at all. I didn't think it had any interest, so I had to jump right into the main body of the story, and then tell the back story through flashbacks, which is the way I think the film should have been done, but nobody did films that way in those days.
    • Richard Matheson [20]
  • I really try to make movies that are for adults and kids. And you can do it. Because it shouldn’t be torturous to take your kid to a movie. We should all enjoy it. And my favorite thing is when we have a friends and family screening, when a little girl is laughing at a joke and she looks up at her daddy and he’s laughing, too. I’m like, ‘Yes.’ It’s great to have laughs for both of them. But, when they laugh together that is magic to me.
    • Mike Mitchell [21]
  • If I write a crappy comic book, it doesn't cost the budget of an emergent Third World nation. When you've got these kinds of sums involved in creating another two hours of entertainment for Western teenagers, I feel it crosses the line from being merely distasteful to being wrong. To paint comic books as childish and illiterate is lazy. A lot of comic books are very literate — unlike most films.
  • Hollywood, television and film is not my prime area of interest. Because I would never have any control, working in those areas. It’s nice to get the money from a Hollywood project, but whatever they do with it, it would be their piece of work, and not mine.
  • Originally I was content to just simply accept the money, that was offered when people had adapted my comic books into films. Eventually I decided to refuse to accept any of the money for the films, and to ask if my name could be taken off of them, so that I no longer had to endure the embarrassment of seeing my work travested in this manner. The first film that they made of my work was "From Hell" Which was an adaptation of my "Jack the Ripper" narrative … In which they replaced my gruff Dorset police constable with Johhny Depp's Absinthe-swigging dandy. The next film to be made from one of my books was the regrettable "League of Extraordinary Gentlemen"… Where the only resemblance it had to my book was a similar title. The most recent film that they have made of mine is apparently this new "V for Vendetta" movie which was probably the final straw between me and Hollywood. They were written to be impossible to reproduce in terms of cinema, and so why not leave them simply as a comic in the way that they were intended to be. And if you are going to make them into films, please try to make them into better ones, than the ones I have been cursed with thus far.
    • Alan Moore from the BBC2 show The Culture Show (9 March 2006) (separate quotes shown; edited together for the segment of the show)
  • My main point about films is that I don't like the adaptation process, and I particularly don't like the modern way of comic book film adaptations, where, essentially, the central characters are just franchises that can be worked endlessly to no apparent point. In most cases, the original comic books were far superior to the film.
    • Alan Moore [ Alan Moore: Why shouldn't you have a bit of fun while dealing with the deepest issues of the mind? The Guardian (Nov/22/2013)]
  • Photography because of its causal relationship to the world seems to give us the truth or something close to the truth. I am skeptical about this for many reasons. But even if photography doesn't give us truth on a silver-platter, it can make it harder for us to deny reality. It puts a leash on fantasy, confabulation and self-deception. It provides constraints, borders. It circumscribes our ability to lie — to ourselves and to others.
  • Of course, to work alone is both harder and easier. There's nothing fabulous about drawing comic books. When you finish, you're relieved and happy, but it's the middle of the night and there is no one to share your joy with. With filmmaking you have a party with your crew and then the premiere. All that stuff you miss when you just draw manga. But there are drawbacks to filmmaking too: sometimes it's really difficult to get your ideas across to your crew.
  • If Coca-Cola accidentally created 100 million cans of faulty Coke, you know for sure the entire 100 million cans would be dropped in the Atlantic or Pacific Ocean, without a second thought and irrespective of what that did to the year's profits. What do we do with a crappy movie? We double its advertising budget and hope for a big opening weekend. What have we done for the audience as they walk out of the cinema? We've alienated them. We've sold audiences a piece of junk; we just took twelve dollars away from a couple and we think we've done ourselves no long-term damage.
  • There is only one thing that can kill the movies, and that is education.

Q - T[edit]

  • The rule is that you only have a sequel if your first one is successful and it's always good to go into a sequel knowing that you love the characters. But the tough side of it is that I always create a movie to be unique.
    • Carlos Saldhana [22]
  • When you start making a movie, you never know which will be the break out characters, the stars of the movie. That happened to us with Scrat (the saber toothed squirrel in Ice Age. We didn’t know that Scrat was going to be a superstar. Scrat doesn’t diminish the central Ice Age characters, Manny, Sid and Diego.
    • Carlos Saldhana [23]
  • They wanted sound, colour, very important, and they wanted depth. The Lumière brothers had made several films in 3D. They’ve been restored, I saw them, they were made in the ‘20’s, but they were made - imagine Orson Welles creating something in 3D. More than 90% of silent films are gone anyway, they’re gone, they continue to go, nobody cared about it. If you really see a silent film in its original form, it’s another language completely. At times extremely modern in the acting too, in many cases and one has to get into that mind-set to see - I wonder if, as you say, the possibility of several films being released at the same time, is maybe an appreciation, again back to the roots of how this all began.
    • Martin Scorsese [24]
  • In movies you can shoot a guy 3,000 times and get a 'PG-13', but if you say the 'F' word twice it's automatically an 'R'. I'll let that be its own comment.
  • My favourite show is The Sopranos. Movies would never have let [David Chase] do that ending. There would have been repercussions. They would have stopped promoting it a certain way and would have said ‘hmm, we tested it and it’s not doing so well, half the audience hates it’, that kind of stuff. But on TV everybody watched it. They might have hated it, but they all watched it and it was up to Chase to decide the ending. He had that freedom.
    • M Night Shyamalan [25]
  • What I had noticed is that there weren't a lot of women lining up to see a comic book movie, but they were going to line up to see The Devil Wear Prada, which may have been something I wanted to address. But when you're making a movie, you're not thinking about that stuff, you're thinking, 'Wow, I want to make a romantic movie that harkens back to the Richard Donner movie that I loved so much.' And that's what I did.
  • Well, Jack Warner may have been celebrated for calling writers "Schmucks with Underwoods," but 20 years earlier, Irving Thalberg … said, "The most important person in the motion picture process is the writer, and we must do everything in our power to prevent them from ever realizing it."
  • Watching violence in movies or in TV programs stimulates the spectators to imitate what they see much more than if seen live or on TV news. In movies, violence is filmed with perfect illumination, spectacular scenery, and in slow motion, making it even romantic. However, in the news, the public has a much better perception of how horrible violence can be, and it is used with objectives that do not exist in the movies.
  • When you look at Rosebud, you don't think of fast dollars, fast sequels and remakes. This to me says that movies of my generation had better be good.
    • Steven Spielberg, "Newsmakers"; Newsweek, June 21, 1982, page 51
  • I feel like you want to experience something new and different and something unique. I mean, I always strive to do something different, although TV projects that I've done, one is different than the next ... Going to the movies is more expensive nowadays, it has to be kind of an event or it has to be something that you haven't seen before that you could be like, "Wow, we can't miss that. We have to take the family and see it." So, I try to strive as best I can.
    • Genndy Tartakovsky [26]
  • I honestly don't understand the big fuss made over nudity and sex in films. It's silly. On TV, the children can watch people murdering each other, which is a very unnatural thing, but they can't watch two people in the very natural process of making love. Now, really, that doesn't make any sense, does it?
    • Sharon Tate Sharon Tate and the Manson Murders (2000) by Greg King
  • A film is a boat which is always on the point of sinking - it always tends to break up as you go along and drag you under with it.

V - Z[edit]

  • And there are two sequels to "RoboCop." Then there's a sequel to "Basic Instinct," of course. And now the remake of "Total Recall" and "RoboCop." There's nothing you can do about it. The Hollywood studio system doesn't allow you to say, "I don't want that." They can do whatever they want. I mean, I worked for a short amount of time on "Basic Instinct 2" and I worked for some time on "RoboCop 2" -- but in both cases, that came to nothing. In fact, I'm not so motivated by sequels because I feel that I did it and now I have to get out of bed to do it again. And I prefer to sleep.
  • Yeah, in those old Westerns, Strother Martin would come on and pull the boots off a dead guy in “The Wild Bunch” and I always felt that if the camera decided to follow him, there would be a whole movie behind those guys. In animated movies, sometimes characters show up on screen to say two lines and I don’t feel like that they have a movie behind them. The spaghetti Westerns from (Sergio) Leone and (Sam) Peckinpah, there’s a sense that every character has a history to them. If you opened any one of the doors of any tertiary character, you could feel a little infidelity and some issues with their lives and a sense that they were coming from somewhere and going someplace that was bisected by the film. That was really important.
    • Gore Virbinski [28]
  • Whenever I direct a film, I always keep this in mind, never put too much explanation in the story, if I put in too much details in the story, there won’t be much room for the viewers’ imagination. And a good story must have good balance, if the story is too complicated, the viewers would have difficulty following the story. That is why I am always taking care of the balance.
  • Shinichiro Watanabe [29]
  • It was a terrible experience because I was able to shoot what I wanted to — and then the cut of the movie was taken away from me and any reference to religion or religious ideas was removed. And the darkness and threat at the end of the story — anything that made it not a happy, popcorn-type movie — was removed. The voice of the key character was redone, all of this against my will. And the fact of the matter is the people that the studio was afraid were going to raise up arms against the movie did it anyway.
    • Chris Weitz Riefe, Jordan (18 November 2009). "‘New Moon’s’ Chris Weitz: Grilled". The Wrap. Retrieved 8 March 2015.
  • A film is a ribbon of dreams. The camera is much more than a recording apparatus; it is a medium via which messages reach us from another world that is not ours and that brings us to the heart of a great secret. Here magic begins.
  • I kind of treat moviemaking and TV like the Army, and I kind of always have. Whoever is in charge, is in charge, and if they're going to march you up a hill and get you all killed, that's what you do. You march up that hill. You have to respect that, you have to respect that chain of command. I've done it under directors I believed in, I've done it under directors I didn't believe in. I've done it with executives and on projects.
  • There is a real generosity with our group, on the third floor of Disney animation, where we create the stories. They’re so quick to help on other movies. I worked on Frozen for a year. We’ll all work on each other’s movies, and we brought in great directors, writers, and story artists on our film, because there is something about Disney animation itself that is so important to us, so every movie has to be great. We have a relationship with the audience, I feel like there is a deal we have with the audience that every time you come to see one of our movies, no matter what genre it is they are going to have a great experience, and we have to keep up that contract. So that is one of the things that motivates me want to make great films.
  • I’ve seen lots of people with the vinyl Baymax, and the armored Baymax, and really all the characters. It’s a fun thing to see it, but it means that the audience wants to take the characters home, and they want the characters to live outside the film, and that’s one of the things that Disney movies can do really well. So that’s what I think is a fun benefit of working at Disney animation.
  • ̽ I think people make the mistake of, after having that initial pitch, and they are going to make a movie, they jump right into the story stage, and they work off a story in their minds, and they just do research to support that story, whereas Don worked on it without a world that was formed, and really allowed the research to form the story, that’s when the research can have the impact it is suppose to have.
  • Chris Williams [31]
  • I'm on a journey to discover the beauty of the fairy tale and I want to stay on that path, trying to find better ways to capture it on film. And I have only one wish — to delight the eyes and heart of every child.
    • Jsem na cestě objevování krásy pohádek, a tak na ní chci zůstat a hledat stále dokonalejší způsob jejich filmového vyprávění. Mám jedinou touhu — potěšit dětské oči a dětská srdce.
  • I wanted one thing – to show the fantastic world created by nature over millions of years. Film offered me that chance.
    • Šlo mi o jedno — ukázat fantastický svět, který vytvořila příroda před mnoha miliony let. A film mi tuto možnost nabízel.
  • Why do I make movies? I'm looking for terra incognita, a land on which no filmmaker has yet set foot, a planet where no director has planted his flag of conquest, a world that exists only in fairy tales.
    • Proč vůbec točím filmy? Hledám Zemi nikoho, ostrov, na který ještě nevstoupila noha filmařova, planetu, na které ještě žádný režisér nevztyčil vlajku objevitele, svět, který existuje jen v pohádkách.

See also[edit]

External links[edit]

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