Film Quotes - Page 3

Out of the ugliness of the ironworks lepers will eat, children will be born, their parents will grow old.

Every actor in his heart believes everything bad that's printed about him.

A good movie can take you out of your dull funk and the hopelessness that so often goes with slipping into a theatre; a good movie can make you feel alive again, in contact, not just lost in another city. Good movies make you care, make you believe in possibilities again. If somewhere in the Hollywood-entertainment world someone has managed to break through with something that speaks to you, then it isn’t all corruption. The movie doesn’t have to be great; it can be stupid and empty and you can still have the joy of a good performance, or the joy in just a good line. An actor’s scowl, a small subversive gesture, a dirty remark that someone tosses off with a mock-innocent face, and the world makes a little bit of sense. Sitting there alone or painfully alone because those with you do not react as you do, you know there must be others perhaps in this very theatre or in this city, surely in other theatres in other cities, now, in the past or future, who react as you do. And because movies are the most total and encompassing art form we have, these reactions can seem the most personal and, maybe the most important, imaginable. The romance of movies is not just in those stories and those people on the screen but in the adolescent dream of meeting others who feel as you do about what you’ve seen. You do meet them, of course, and you know each other at once because you talk less about good movies than about what you love in bad movies.

We were poor back then. Not living in a cardboard carton poor, not “we might have to eat the dog” poor, but still poor. Poor like, no insurance poor, and going to McDonald's was a really big excitement poor, wearing socks for gloves in the winter poor, and collecting nickels and dimes from the washing machine because she never got allowance, that kind of poor… poor enough to be nostalgic about poverty. So, when my mom and dad took me here for my tenth birthday, it was a really big deal. They’d saved up for two months to take me to the photography store and they bought me a Kodak Instamatic film camera… I really miss those days, because we were still a real family back then… this mall doesn’t even have a film photography store anymore, just a cell phone and digital camera store, it’s depressing…

A director makes only one movie in his life. Then he breaks it up and makes it again.

Last, but not least -- in fact, this is most important -- you need a happy ending. However, if you can create tragic situations and jerk a few tears before the happy ending, it will work much better.

People see a Macbeth film. They imagine they have seen Macbeth, and don't want to see it again; so when your Mr. Hackett or somebody comes round to act the play, he finds the house empty. That is what has happened to dozens of good plays whose authors have allowed them to be filmed. It shall not happen to mine if I can help it.

For J.-L.G., color does not exist simply to show us that a girl has blue eyes or that a certain gentleman is a member of the Legion of Honor. By necessity, a film by Godard that offers the possibility of color is going to show us something that could not be shown in black and white, a kind of voice that cannot resound ehen colors are mute.

Is everybody in? Is everybody in? Is everybody in? The ceremony is about to begin. The entertainment for this evening is not new, you've seen this entertainment through and through you have seen your birth, your life, your death....you may recall all the rest. Did you have a good world when you died? -enough to base a movie on??

Movies are so rarely great art that if we cannot appreciate great trash we have very little reason to be interested in them.

Bing: You’re a heel…a low down rotten heel…anything that doesn’t go your way, anything that you can’t have you destroy.

Ever director has at least 10 bad films in them.

It was just a quick touch of his lips and it left her breathless, as always. In that moment his kiss infuriated her. This was only supposed to happen in the movies! It was a feeling designed by books! She wasn’t supposed to feel her lungs seize and butterflies were not supposed to run rampant in her stomach, just because a man pressed his lips to her lips

Don't bitch or punish the world: just create. Create something nobody's ever seen before and there is a good chance the world will notice you. Attacking teen girls on the internet is the saddest form of masturbation that exists and requires no discernible skill or talent. Because if you're not being useful in this world, you're being useless. Don't be useless: go make stuff that makes people happy.

A world that won't forget is a world drowned in its not forgetting. Do we want a world full of unedited memory? To be human is to be finite.

No matter what they're charging to get in, it's worth more to get out.

I hear you in the morning sun.

Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.

One gets the sense that, for Deleuze, the cinema of the movement-image has been fully realized while that of the time-image is emergent. Comparatively speaking, there are few "pure" examples of films where direct images of time predominate. Mixed or hybrid examples are more common.

In the era of angry and aggressive policing, it is an honorable service to your fellow citizens to video record police officers interactions with the common people.

Why didn't you write all this time?Did you not remember us in a song?A dance?In the skies littered with stars?Did you not get drunk?Why didn’t you write all this time?Did you not remember us in a film?A book?In idyllic dusks and dawns?Did you not get high?It is good that you didn't.For all is well. I am drunk and dazed.I have already forgotten youand your bewitching ways.

I believe that all people from the humanity which are dead. Aren't really dead, they are just out of the stage and they are on the chairs and they are watching the Endless Film.

Down the steps,...over the corpses,...careers the pram with the child.

What I remember myself from films, and what I love about films, is specific scenes and characters.

Nothing more inelegant and ineffective than an art conceived in another art's form.

A film which followed the code of the Hays Office to the strictest letter might succeed in being a great work of art, but not in a world in which a Hays Office exists.

Kermit: Hey, Fozzie, I want you to turn left if you come to a fork in the road.Fozzie: Yes sir, turn left at the fork in the road.[drives past a giant fork]Fozzie: Kermit!Kermit: I don't believe that.

We Live in a World Measured by Piracy because Piracy means Access.

You can't tell what's in a person's heart until you truly Know them.

[Cinema]… obeys the laws of the mind rather than those of the outer world.

There's always one sure way of finding out that you're a misfit. When you're eleven years old, and your friends are telling you that they just sneaked into the theater to watch 'Twilight' and that it was "sooooo emotional and sooooo terrifying and soooooo romantic!" - but you've been spending the summer watching 'Rosemary's Baby' and 'Don't Look Now' and knowing the lines to all the Alfred Hitchcock films by heart - that's the moment you realize that you're a misfit.

Beauty is light set free.

...When the bespangled Miss Charisse wraps her phenomenal legs around [Fred] Astaire, she can be forgiven everything—even the fact that she reads her lines as if she learned them phonetically.

Kenji Mizoguchi is to the cinema what Bach is to music, Cervantes is to literature, Shakespeare is to theatre, Titian is to painting: the very greatest.

Our personal past is only available to us now through black-and-white film, it's a medium for communication with the dead, including our dead selves, the way we used to be, which is why we're drawn to it.

Here's the most startling irony I know in film history: Antonioni, who is often denigrated by left-wing critics as a formalist and aesthete gives us radical realism through the long take, and what he gives us--this is his metaphysical wager--is real outside the film, off the set, beyond the camera and underneath the surface of everyday life.

Jaws 4 is so bad it makes Jaws 3 look like Jaws 2.

After all there isn't way out, there isn't security.(Film Hidden)

Horror is a curiousity, it's used we to go over on real horror it just prepare us for the hard battles. To laugh at somebody's harm... there is even and scientific explanation.

Summer movie idea: take all the sequels that are out right now, and make movies about their backstories.

(The Purge)... We are not stupid...

My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected onto a screen, come to life again like flowers in water.

I have often thought it was very arrogant to suppose you could make a film for anybody but yourself.

Somebody hearing me saying the film is stupid??Talking about "The Hospital 2"?... THey just said it, in the film! (In other words in the film there was scene saying "STUPIDDDDDDDDD

The problem is we are not eating food anymore, we are eating food like products. (Hungry For Change Film)

That's the illusion of stillness. There is no secret. Only the implication of one by its possesor".

I grew up in an era that was a golden age of the blockbuster, when something we might call a family film could have universal appeal. That's something I want to see again. In terms of the tone of the film, it looks at where we are as a people and has a universality about human experience.

It's my conceit that perhaps some diseases perceived as diseases that destroy a well-functioning machine actually turn it into a new but still well-functioning machine with a different purpose. The AIDS virus: look at it from its point of view. Very vital, very excited, really having a good time. It's really a triumph if you're a virus. See the movies from the disease's point of view. You can see why they would resist all attempts to destroy them. These are all cerebral games, but they have emotional correlatives as well.

If you truly love film, I think the healthiest thing to do is not read books on the subject. I prefer the glossy film magazines with their big color photos and gossip columns, or the National Enquirer. Such vulgarity is healthy and safe.

I wouldn’t be a good wife, but I would be a wife in a way that was cinematically compelling.

Hey, I got an idea, let’s go to the movies. I wanna go to the movies, I want to take you all to the movies. Let’s go and experience the art of the cinema. Let’s begin with the Scream Of Fear, and we are going to haunt us for the rest of our lives. And then let’s go see The Great Escape, and spend our summer jumping our bikes, just like Steve McQueen over barb wire. And then let’s catch The Seven Samurai for some reason on PBS, and we’ll feel like we speak Japanese because we can read the subtitles and hear the language at the same time. And then let’s lose sleep the night before we see 2001: A Space Odyssey because we have this idea that it’s going to change forever the way we look at films. And then let’s go see it four times in one year. And let’s see Woodstock three times in one year and let’s see Taxi Driver twice in one week. And let’s see Close Encounters of the Third Kind just so we can freeze there in mid-popcorn. And when the kids are old enough, let’s sit them together on the sofa and screen City Lights and Stage Coach and The Best Years of Our Lives and On The Waterfront and Midnight Cowboy and Five Easy Pieces and The Last Picture Show and Raging Bull and Schindler’s List… so that they can understand how the human condition can be captured by this amalgam of light and sound and literature we call the cinema.

The lasting and ultimately most important reputation of a film is not based on reviews, but on what, if anything, people say about it over the years, and on how much affection for it they have.

Film photography will always be superior to digital - because no matter how many lasers and instant buttons and HD pixels you've got, a human being can take a photograph with much more integrity and meaning than one a built-in robot took.

You think you know it, but you always find out new stuff.

We are on location, this is not a vacation.

Alecto… what do you think would happen if people found out about you? Your abilities, your life, Mearth’s super 8 films, those powers of yours… how would they react?”“I don’t know,” said Alecto, “but ordinary people like a show, especially when it’s a disturbing one. They enjoy seeing misery… probably because it allows them to pretend that they themselves are not so miserable, too. Also, they would probably find out about you, how you know about Personifications, how you saw the films… they would put us in cages and throw peanuts at us, I guess.”“All joking aside, Alecto.…”“Who is joking, Mandy Valems?

Her first really great role, the one that cemented the “Jean Arthur character,” was as the wisecracking big-city reporter who eventually melts for country rube Gary Cooper in Frank Capra’s Mr. Deeds Goes to Town (1936). It was the first of three terrific films for Capra: Jean played the down-to-earth daughter of an annoyingly wacky family in Capra’s rendition of Kaufman and Hart’s You Can’t Take It With You (1938), and she was another hard-boiled city gal won over by a starry-eyed yokel in Mr. Smith Goes to Washington (1939). “Jean Arthur is my favorite actress,” said Capra, who had successfully worked with Stanwyck, Colbert and Hepburn. “. . . push that neurotic girl . . . in front of the camera . . . and that whining mop would magically blossom into a warm, lovely, poised and confident actress.” Capra obviously recognized that Jean was often frustrated in her career choice.

In order to get [Mean Streets] made I had to learn how to make a movie," says Scorsese. "I didn't learn how to make a movie in film school. What you learned in film school was to express yourself with pictures and sound. But learning to make a movie is totally different.

I foresee no possibility of venturing into themes showing a closer view of reality for a long time to come. The public itself will not have it. What it wants is a gun and a girl.

Tibby sat on the outside of a group of kids in the film program. There was a lot of dark clothing and heavy footwear, and quite a few piercings glinting in sunlight. They had invited her to sit with them while they all finished up their lunches before film seminar. Tibby knew that they had invited her largely because she had a ring in her nose. This bugged her almost as much as when people excluded her because she had a ring in her nose.