Zitat des Tages über Film:
My dad made a film called 'Willow' when he was a young filmmaker, which screened at the Cannes film festival, and people were booing afterwards.
Film lovers are sick people.
An actor should never be larger than the film he's in.
'Twilight' is a phenomenon. And I'm so happy it's all captured on film. It's going to be something I'll always look back on, for sure.
Well, that was certainly - to me, until we could film in Charles' room, I didn't even want to bother filming anything else. And in fact, I did hold off and that was the first thing we filmed.
The Company of Wolves doesn't belong in any category, so it's difficult to prepare an audience for it. It's not a horror film, it's not a fantasy film, it's not a children's film - so what is it?
The Holy Ghost was working through me on this film, and I was just direction traffic.
'Shakespeare in Love' was a particularly happy film.
The film itself should interact with the audience. In the case of 'Queen of Katwe', people are laughing, sobbing and dancing. I am taking them on a ride... It is not like I am asking them for handouts.
I don't necessarily think that having more money helps make you make a better film. Sometimes having less money is better. You're forced into being more original; you're forced into hearing something versus seeing it.
I don't think there's much point in putting me a deep, dark, heavy, emotional film because there are people who do it so much better than I do.
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.
My role as Ewan McGregor's girlfriend in the film 'Incendiary' ended up on the cutting-room floor, but at least I had two brilliant days of acting with Ewan.
The highest pay cheque my mother ever received funded the building of a nursery school in Shepherd's Bush - the school cost well over three times the money she donated to the making of the film 'The Palestinian.' Unsurprisingly this always goes unmentioned in the press.
In the film world, and I know this from just talking to other people, that I'm known as a kind of dramatic, serious, almost humorless actor, and the fact is I'm a funny guy, and I spend most of my life trying to find a lighter side of things and on stage was given plenty of opportunity to do that.
When I started out, I was very vociferously against theatre or what I saw theatre as being, so I tried to make my plays the opposite of that - something a bit more cinematic. I'm a film kid, so I'll never have the same love of theatre as I do of movies. It's just the way I was brought up.
If you take a really good book, then the potential is for a really good film. But you've got to get it right.
There are many applications for which film is going to be better, for a very long time.
I'd love to go back to Broadway; I'd love to do animation; I'd love to do hair and make-up campaigns because I love hair and makeup - and, I'd love to do film. I mean, there are a lot of doors I'd love to open up!
I got in trouble in film school at USC because one of my Super-8 movies there, in the first semester, involved a snowmobile chase scene. I made an action scene, and they were like, 'That wasn't what you were supposed to be doing.'
I get quite fed up being on a film set day after day, six days a week. It can get to be a grind.
No, I'm not a comic book guy. I'm pretty fascinated with the subculture though and I do think that the world of comic books is such a natural transition into film.
Dance looks absurd on film, I think, like little puppets moving around.
I've never made a film that I didn't believe in, you know? However the picture turns out, I've always given everything to it. That's kind of how I approach life. I can't help it. There's no part-way with me on anything in any area of my life.
My movement from painting to film was a very conscious one.
Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.
As a measure of acting skills, film can be very deceptive.
A film doesn't exist until it meets its audience.
I had not starred in an independent film and it's about a woman who owned a hair salon.
In most of the European countries - France stands out in its resistance to this particular form of American cultural imperialism - the national film industries were forced onto the defensive after the war by such binding agreements.
When I finish a film, I want to forget it. I never like to repeat myself. Maybe, when I am dead, they will find certain consistencies in the style of my films, but I never want one film to look like another.
I will not cut my film because, because, because, because of the Wonderful Wizard of Oz.
It's that TV thing. You can be in the biggest film of the year and it will still not have the kind of impact a TV series has. Once you're in people's living rooms, that's it. There's no hiding place.
I love the medium of film.
Our feature film, 'Crouching Tiger, Hidden Dragon Two,' has a built-in fan base from the original film.
I love political cartoons from the 19th century, and whenever I complete a piece of acting work that I'm particularly proud of, be it a film or play, I treat myself to a picture by caricaturist James Gillray.
