Quotes About Films

Actually, I can't stand watching violent scenes in films; I avoid watching horror films. I don't tend to watch action films mainly because I find them boring, but I watch the films of David Cronenberg and Martin Scorsese, usually in a state close to having a heart attack. I'm a complete coward. I make violent films as a result of my sensitivity to violence - in other words, my fear of violence.

I never worked on different films at the same time. I made one by one. I never made two or three films together. This is impossible! I only have one head. It is impossible for me to think about two films at the same time. There are a lot of these legends about me, and I don't know why. I'm not a legendary man. But the people all the time say I make three films at the same time, and it's not true. Don't believe these kinds of things.

I enjoy the making of the film and it's something for me to do. If nobody ever comes to my films, if people don't want to give me money to make films, that will stop me. But as long as people come all over the world and I have an audience and I have ideas for films, I will do them for as long as I enjoy the process. And I like the whole process of making a film.

I don't think I make genre films. I think studios try to sell films as genres because they know how to do that. There's nothing wrong with that. I don't know what I make. It's sort of a pot roast, all my films.

I built up a knowledge of 1960s and '70s British films because my dad used to work nights, and I'd sit up with my mum and watch films - 'How I Won the War' and the films of Richard Lester, Karel Reisz and John Schlesinger.

I love French films, and European films. They're not any bigger, but there's just a sort of definition, and a confidence, and strength to them. I'd always, given the option, go and see a French drama. Obviously, we probably get the better ones. But they're just sophisticated on many levels, and grown up, and quite profound - and we don't make films like that.

I'd like to get into the superhero genre. I'd love to do either a DC or a Marvel character. I just love the way they're approaching these characters in these films. I also would love to get back into some romantic films. I love romance films, especially between people of color, because we don't really explore that enough. I would love to do that.

I said I would do all the films about the commercials, and the films about ball-bearings and Ford tractors and so on, if once a year they gave me money for a free film.

Yes, a lot of European cinema and a lot of independent films and art-house stuff. She is a photographer. She is a visual artist and photographer and my dad is, too. My mum, I must credit for showing me good films. With my career, my parents were great and though they were a little wary, maybe, of the acting ambitions they have always been supportive.

I only really watch my own films, I don't watch any other films and I don't particularly like any other actors.

If you look at the Oscars and look at the Best Foreign Language series, you see that the films are coming from everywhere - from Quebec, Israel, Poland, and Belgium. It's not the usual French, German, etc. This category is opening up to socially engaged and political films. I think we're going to see a cross over to the main categories also. It's part of this global environment now and I'm grateful that the Academy is having this window on world cinema.

My own personal taste in films as a member of the audience was not completely in line with films I was doing.

What I love about the 'Alien' franchise is I would do all kinds of films - dramas, comedies, whatever - and every now and then I'd be in this science fiction blockbuster that would re-introduce the character and me to a lot of audiences around the world and allow me to go back and do the smaller films again, so it was really a good balance for me.

Most directors make films with their eyes; I make films with my testicles.

I was always raised on cowboy films, and then when I could start making choices about the movies I wanted to watch I found myself wanting to watch gangster films which were slightly more sophisticated than the baseline stuff that was in westerns.

My films are misinterpreted all the time. I don't mind that. Everybody's films are misinterpreted. But there's no malice or stupidity in the people that misinterpret them. You know what you do, but someone else sees it, and they want to talk about it or write about it, and so they misinterpret them.

Filmmakers need to realize that their job isn't done when they lock picture. We must see our films through. Studios no longer do this for a large percentage of films. The odds that your film will get a major campaign are dim these days. So you must find and nurture your own audience and make sure your film has a life.

Being part of 'Natural Nylon' is a great way to have an influence on the films that get out there. I love films and it gives me an input.

I've done big studio films and the big studio films I've done, I've tried to do the interesting ones and the ones where I could live with myself in the morning.

I have a lot of films that I haven't gotten made, and that continues to trouble me. But someday, some way or another, I think I will. It's all about timing. There's a moment when you're hot and studios will make your next film, and then there's a moment when you're really cold, and they couldn't care less what you want to do next. That's when you have to recede and make lower-budgeted films.

At this moment, everyone is in crisis, not only in Italy but all over Europe. Only in America do they make films that are successful all over the world. In Europe, production is quite poor. We have three or four or five films, which is not enough.

The films that I really enjoy now are films that are made by, for wont of a better word, mavericks.

I think that horror films have a very direct relationship to the time in which they're made. The films that really strike a film with the public are very often reflecting something that everyone, consciously or unconsciously feeling - atomic age, post 9-11, post Iraq war; it's hard to predict what people are going to be afraid of.

Women sometimes really love to look at other beautiful women on the screen. But they don't look at a woman the way a man looks at a woman. They want to be that woman. They like if a woman is beautiful or sexy, especially if she's powerful. They like to see her catch a man, or to be powerful in the world. I think this is why a lot of women love noir films and classic films because they can really identify with these really strong, beautiful women. That's the kind of power that women have lost culturally.

I think all writers of my age who are brought up on films probably by the age of 16 have seen many more films than they have read classics of literature. We can't help but be influenced by film. Film has got some great tricks that it's taught writers.

What I'm really focused on is the majesty of the best films I see are films that don't panhandle for an extra laugh later, but actually deliver the goods. And when the screen goes black, you go, Yes.

The average American child sees 20,000 murders in TV before reaching age 18. This is considered normal. Every community has video rental stores filled with multimillion-dollar films that depict people doing terrible things to each other. If you read newspapers, you have every right to believe that Bad Nasty Things compose 90 percent of the human experience. But you will be hard-pressed to find more than a few novels, films, news stories, and TV shows that dare to depict life as a gift whose purpose is to enrich the human soul.

It wasn't just British gangster films that really did for me as a kid, personally, it was British films in general.

We were lucky to get Sam Jackson and Jeremy Irons and John McTiernan back. Long movie and hard movie to make and difficult for me because instead of working, my biggest concern was not repeating things I had done it in the previous films. And it rang notes in my head of episodic TV. A sequel is not a new movie; it's a chapter in a movie that you have already seen. Thank god Sam was there and thank god Jeremy was there. Again, it went outside the template of that series of films but it did well and made a ton of dough and the third chapter of a lot of sequels is always the one that falls down.

I come from the belief that all good films find their time whether it's on opening week or sometime later. That's certainly true with some of my favourite films that might relate to this [The Assassination of Jesse James] film in terms of cadence like Pat Garrett & Billy the Kid, or McCabe & Mrs Miller or Days of Heaven. I found them 10 to 20 years after they were made.

I think in the '80s, when I started making films, we were all suspicious of these technologies. We were all convinced they would filter out any emotion and sense of intimacy, and the films I made during that period reflected that. In fact, what has happened is the opposite. I think we're saturated with a degree of intimacy we would never have expected, and we're trying to sort through this idea of complete access to each other's lives on an ongoing basis. Our emotions aren't filtered out at all. They're actually accelerated.

I'm not making films for middle aged journalists, who are mostly men. I make films that hopefully entertain people, where they can learn something about life.

Things are shifting; man is evolving in many different ways. The Internet has created a portal for people to connect with each other in a way they never could have before. When it comes to African-American or black films, it's different because there is a model that you can actually look at, an equation that shows that these films earn money.

I have had unsuccessful films, but I learned a lot from those films. I give my failures as much importance as my success.

There is this thing called Actors Access, which is run by the breakdown services. What they do is they put up casting notices that are available to everyone. Because there's thousands and thousands of actors and there are student films and grad student films and, sometimes, some small independent projects that are on there.

I was frustrated because I couldn't get going, as I was trying to figure out how to make films. I had various jobs, I taught a SAT class, I was a bartender, I had a day job at an office and was making short films.

Do you like foreign films?” “With subtitles?” “Yes.” “I hate those types of films.” “Me too,” Cliff says. “Mostly because - “ “No happy endings.

Though, technically, I'm shooting on location, my films are actually based inside a woman's heart. I think women are more emotional than men, and that's a thread I've explored in all my films. When I see TV these days, I'm shocked at how all the main women characters are portrayed as evil. Women are the foundation of everything, and they deserve to be treated that way on camera.

My films require that the spectator ask the big existential questions. If you're not interested of turning inwards for answers, my films won't fulfill their whole purpose.

There's many more films being made in America than there are in Australia. You make four hundred and fifty films a year, we make twenty-five.

So often times we see these films that erode human dignity...films that deny the transcendent moral order of the moral universe. They're always eroding natural affections for families. Fathers betray their commitments, children's are always portrayed as brats and disobedient, marriages are always in crisis and struggle. I think (for) most of us, that's not the lives we live. We're always being challenged, we always have challenges but we love our families, we love our spouse, we love our children.

There's very few people who want to just make beautiful films that make money when they can make films that make huge money.

Learning to make films is very easy. Learning what to make films about is very hard.

My films are therapy for my debilitating depression. In institutions people weave baskets. I make films.

I've always had the perspective that roles come into my life when I need them most and sort of teach me lessons. The same can be true of films, films are released into society to aid in a lesson, inspire people, comfort people.

Film is universal. All the countries of the world are making films. Hollywood is the only major unsubsidized center for films. To my knowledge all others are at least partially subsidized. I'm glad Hollywood isn't.

I watch a lot of different films. A lot of different performances and I find a lot of little things from the films or things that actors do or people in real life who have behaviors or idiosyncrasies that I like or find interesting and I try to remember that. And then I'll do a prayer. I'll do a prayer to ask the character or the spirit of the character to come and visit me. And let's work together.

I'm a Lebanese woman who directs films. That's not it at all. I am not really a woman nor am I really an Arab. Because I am not an apologist for women, nor of sentimental "world" films.