Quotes about film
page 3

“Even though I now feel more confident and happy, I was really paranoid for about a year and a half. Basically, what happened was that I quit taking drugs and I walked out into the world and was sort of in this film that was really well received. So, after years of living a more destructive lifestyle, I had to, instantly, kind of court this world which had incredibly nice value systems, but with protocols that I had never encountered before. And then I had to reconcile these two worlds. You know—I want to live a happier, more productive lifestyle, but the question was, did I want to renounce being in a great rock ’n’ roll band for that? The answer was ‘No way.”

Courtney Love (1964) American punk singer-songwriter, musician, actress, and artist

On reconciling her career in acting and music, interview with The Georgia Straight (1999)
1996–2005

Happiness, World, Way, Feeling

“Balachander is my inspiration. He had a heart problem 40 years back. He has been making films for another 46 years. He can never grow old. My father used to be like that until he suffered a stroke. Then I suddenly realized he was an old man. That's also true of my brothers Chandra Haasan and to an extent Charu Haasan. I can never imagine them being old.”

Kamal Haasan (1954) Indian actor

Aamir's choice of films makes Kamal Haasan happy

Imagination, Problem, Suffering, Heart

“Like everything else, James Bond (Pierce Brosnan) has had to change for the nineties. The venerable 007, coming off a long hiatus, has taken on his sixth face (the other five being Sean Connery, David Niven, George Lazenby, Roger Moore, and Timothy Dalton), changed his mode of transport from an Aston Martin to a BMW, and now answers to a female "M" (played dryly by Judi Dench). Bond's attitudes towards women have been modified — although not greatly. Also, there's more action in GoldenEye than in previous 007 entries — enough to keep a ninety-minute film moving at a frantic pace. Unfortunately, this movie isn't ninety-minutes long — it's one-hundred thirty, which means that fully one-quarter of GoldenEye is momentum-killing padding.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/movies/g/goldeneye.html of GoldenEye (1995). Three star reviews

Women, Change

“With this film I have made more money than any of my other films. It was a high-wire act.”

Kamal Haasan (1954) Indian actor

On the success of his innovative Tamil film Apoorva Sahodarakal (Unique brothers) after a series of flops, In Comeback king (31May 1989) http://indiatoday.intoday.in/story/kamalhasans-latest-performance-dwarfs-his-earlier-hits/1/323484.html

Money

“A series of ever-decreasing splashes drip and plop into black water… thus the beginning of the film is reprised.”

Peter Greenaway (1942) British film director

Prospero's Books

Water

“So, Brussels have come up with a little thing called a European Constitution, which will unite all of the European Union into a single superstate, governed by a single government. There may be a problem with everyone speaking different languages and hating each other, but seemingly insurmountable problems have been solved in the past. Like Mount Everest, or making a film based on the Lord of the Rings.”

Ben Croshaw (1983) English video game journalist

14 May 2003
Fully Ramblomatic

Hate, Problem, Past

“Total box office so far has been $22,350 … that trickles down to $3,000 for me. Which really isn't much, but it's fine. People are seeing the film and they're seeing it the the way it should be seen. I do not feel like the distributors are ripping me off. I feel like this is the model of film distribution and this is the reality of it and fortunately my income is not dependent on it.”

Nina Paley (1968) US animator, cartoonist and free culture activist

8m58s https://www.youtube.com/watch?v=eazIth4orfM#t=8m58s Power to the Pixel (2009)

People, Way, Feeling, Reality

“Seated each afternoon in the darkened screening room, Halliday came to recognize the targeted numerals of the Academy leader as sigils preceding the dream state of a film.”

William Gibson (1948) American-Canadian speculative fiction novelist and founder of the cyberpunk subgenre

A sentence that he worked on for years earlier in his career, which eventually went nowhere. Troubled by inexperience in "actually getting the characters to move," he spent so much time on it that he can still remember every word more than 20 years later.
No Maps for These Territories (2000)

Dreams

“Today, Psycho still holds up extraordinarily well (another reason why a remake seems pointless). With the exception of Halloween, no latter-day horror/thriller has been capable of generating as many goosebumps. The black-and-white photography is perfect for the film's tone and mood — the starkness of color would have blurred the nightmarish quality. The painstaking care with which [director Alfred] Hitchcock composed every scene is evident in the quality of the final product.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/php_review_template.php?identifier=669 of Psycho (1960). Three-and-a-half star reviews

Color, Mood, Perfection

“The embarrassing thing is that my salad dressing is out-grossing my films.”

Paul Newman (1925–2008) American actor and film director

Quoted in The Times Online http://www.timesonline.co.uk/tol/life_and_style/court_and_social/the_hitch/article719803.ece (2008-01-26)

“(When asked about gaming) I have a few favorites: Stand-up arcade game - 720 degrees, RTS - Command & Conquer & Star Wars Empire at War, FPS - Unreal Tournament 2004. As far as RPGs, I prefer good old D&D on paper for that. The game industry is as strong as the music and film industry now, and crosses over into both as well. I still play all the games I just mentioned every now and again. I find it intriguing that retro-gaming has come back in a big way. All the old arcade games from the 80s seem to have found their way back in the form of built in joysticks that plug into TVs. Xbox360 has live arcade downloads, the Wii has classic Nintendo and Turbo Graphix downloads, it's very interesting. I think people are recognizing once again that simple short fun experiences are just as good as having long huge production experiences. Theres something out there for everyone, and gaming is as much for adults as it is for kids. I love variety in gaming. For a good while there was too much of the same types of games year after year, and it feels like we're seeing more creativity again, which is a good thing.”

Frank Klepacki (1974) American musician, video game music composer and sound director

Gameplay magazine

Love, War, People, Music

“This film is based on an actual 2004 event that took place at a McDonald's in Mount Washington, Ky. Google it and you'll find most of the same details. If you're not one of the film's walk-outs, you'll discover at the end that 70 similar deceptions have occurred in the United States… If the stunt worked 70 times, they must prove something — perhaps that we are afraid of authority. I know that when a traffic cop pulls me over, I'm frightened — scared enough that I drive safely and am almost never pulled over.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/compliance-2012 of Compliance (29 August 2012) Reviews, Three star reviews

Time

“On octopuses - When you see 'em in films, they're running about an' that and everyone likes an octopus.”

Karl Pilkington (1972) English television personality, social commentator, actor, author and former radio producer

Podcast Series 2 Episode 6
On Nature

“It’s pretty amazing to be a part of the Star Trek family. It’s definitely a highlight of my career. I never imagined it’d lead to so many great opportunities to appear in other films, travel the world to make appearances, be featured in a comic strip, trading cards and even action figures. The fans are the most loyal, more than any franchise or brand. It’s pretty amazing how Star Trek continues to be relevant with so many TV series and films.”

Menina Fortunato (1980) Canadian actress

Enterprise's Orion Slave Girls https://www.startrek.com/article/enterprises-orion-slave-girls-part-2 (March 17, 2016)

World, Family, Travel, Imagination

“I’ve cut way back on animal products (especially dairy), and I try to only eat organic. Because of Alicia [Silverstone], I’m way more conscious of what I put in my mouth and also about how my dollar is spent. Her book The Kind Diet was a real eye-opener for me. … [In the film Vamps] Alicia and I play vampires who abstain from human blood. So we were very kind in that we weren’t killing people and drinking their blood! … All the people in my life joke that I’m vampire in real life. Not because I drink blood or anything but because I prefer to stay indoors with the blinds closed. I’m not really a SUN person. I come out of my coffin (bedroom) when the sun goes down.”

Krysten Ritter (1981) American actress

"I Interviewed Krysten Ritter about Vamps (and Living Kind)" by Alicia Silverstone, TheKindLife.com (30 October 2012) http://thekindlife.com/blog/2012/10/i-interviewed-krysten-ritter-about-vamps-and-living-kind/.

Life, People, Books, Way

“The only thing as bad as bad comedy is bad action. Bad Boys II has plenty of both. In fact, those two things are all it has, unless you count the small helping of bad drama. When it comes to this movie, the word "bad" initially seems highly appropriate. But Bad Boys II isn't just bad — it's a catastrophic violation of every aspect of cinema that I as a film critic hold dear. It seems to have been constructed with terms like "unwatchable" and "godawful" as its slogans. There are motion picture failures every year — the resumes of Hollywood players are littered with them. But, when something this big — a would-be blockbuster with recognizable names in the cast and crew — collapses in such a spectacular fashion, it's worth taking note. Think of how many starving children could have been fed with the money that was poured into [director] Michael Bay's latest sinkhole.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/php_review_template.php?identifier=293 of Bad Boys II (2002). Half-star reviews

Money, Children, Boy, Fashion

“The moment there’s a foreigner in a film it gives a novelty to the script. We make regional films and we need to hype our films.”

Arin Paul (1980) Indian film director

Tolly-ho! on The Telegraph, Calcutta http://www.telegraphindia.com/1081128/jsp/entertainment/story_10173848.jsp(2008)

“A common issue with SF settings is that causally disconnected civilizations nevertheless are close enough in technological development that conflict is possible, rather than it being a matter of laser cannons against a thin film of single celled organisms.”

James Nicoll (1961) Canadian fiction reviewer

[loquls$32v$1@reader1.panix.com, 2014]
2010s

“Remember, pain is temporary; film is forever.”

Peter Jackson (1961) New Zealand film director, producer, actor, and screenwriter

Return of the King: Extended Edition Special Feature

Pain

“It was a really interesting experience for me because, like I said, I had never seen a horror film. It was a very physical role. Wes was so specific and clear about what he wanted, such a good captain of a ship. He was very respectful, funny and smart. We were all so young making that movie, I think we were the near the same ages as his children at the time, and he was just so good with us, kind, supportive, and nurturing.”

Amanda Wyss (1960) American actress

INTERVIEW WITH AMANDA WYSS OF ‘A NIGHTMARE ON ELM STREET’ & ‘THE ID’ http://horrorgeeklife.com/2016/11/10/interview-amanda-wyss/ (November 10, 2016)

Children, Age, Support, Thinking

“One of the remarkable things about Russ Meyer's films is that they continue to live and play, long after the other work of the soft-core era has been forgotten. That is partly because of their craftsmanship, partly because of Meyer's leading ladies, and partly because of a spirit of paramilitary commitment that can be sensed as the cast and crew struggle through rugged terrain to enact their rural melodramas. But the central reason, I believe, is that Meyer is an auteur whose every frame reflects his own obsessions. Like all serious artists, he doesn't allow any space between his work and his dream.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

"Russ Meyer busts sleazy stereotype" Chicago Sun-Times (15 November 1985) http://www.rogerebert.com/interviews/russ-meyer-busts-sleazy-stereotype

Dreams, Sense

“"Why are you filming this?"
"When the cat is away, the mice will play… Always good to remind the mice that in this case, when the cat is away, the mice will all be eaten by demons. I'm going to send this video file to everyone one of our Downworlder contacts around the world. Just a reminder that there are demons we need Shadowhunters to destroy. That's why they exist."”

Cassandra Clare The Mortal Instruments

Maia Roberts and Lily, the vampire, pg. 505-506
The Mortal Instruments, City of Heavenly Fire (2014)

World, Cats

“All the movies are about strange worlds that you can't go into unless you build them and film them. That's what's so important about film to me. I just like going into strange worlds.”

David Lynch (1946) American filmmaker, television director, visual artist, musician and occasional actor

As quoted in The Making of Dune (1984) by Ed Naha, p. 213

World

“When I think about the kinds of movies that make me cry, that make tears come to my eyes, I usually don't think about sad films. Sad films, I sort of just look at it. It's movies that are about selflessness, that are about sacrifice, about humans that believe in the good of the human race that sometimes move me.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Roger Ebert's DVD commentary for Casablanca

Sadness, Thinking, Tear, Cry

“I regard criticism as an art, and if in this country and in this age it is practiced with honesty, it is no more remunerative than the work of an avant-garde film artist. My dear anonymous letter writers, if you think it is so easy to be a critic, so difficult to be a poet or a painter or film experimenter, may I suggest you try both? You may discover why there are so few critics, so many poets.”

Pauline Kael (1919–2001) American film critic

"Replying to Listeners" http://www.paulrossen.com/paulinekael/replylisteners.html, broadcast on KPFA (January 1963).

Age, Art, Thinking, Country

“Dark City is such an underrated film.”

Frances Bean Cobain (1992) American artist

7 July 2014 https://twitter.com/alka_seltzer666/status/486080120382189570 Twitter https://twitter.com/alka_seltzer666 posts

“I absolutely love Bela Lugosi's Count. One thing that always interesting to bear in mind in the great history of Dracula is that, I think almost without exception the film's release has always been surrounded by controversy. Bela Lugosi's Count Dracula at the time was regarded as essentially a kind of B-movie piece of junk. Whereas now, I think it has real luster and appeal to people. I looked at Bella's Count again because Steve was interested in pursuing a sense of the old Universal films, I thought it was kind of good to do that.”

Richard Roxburgh (1962) Australian actor

An Iinterview With Dracula and His Brides http://www.ign.com/articles/2004/05/05/an-interview-with-dracula-and-his-brides (May 5, 2004)

Love, People, History, Thinking

“After six years of working on low-budget independent films of the too-weird-to-watch variety, being asked by DreamWorks to come and play with the big boys, it was like finding an unicorn in your sock drawer.”

Sienna Guillory (1975) British actress

Sienna Guillory Interview http://community.livejournal.com/siennagfan/20449.html#cutid1. Vanity Fair. December 2001. Guillory speaks about her role in The Time Machine.

Boy

“I made the statement years ago which is often quoted that 80 percent of life is showing up. People used to always say to me that they wanted to write a play, they wanted to write a movie, they wanted to write a novel, and the couple of people that did it were 80 percent of the way to having something happen. All the other people struck out without ever getting that pack. They couldn’t do it, that’s why they don’t accomplish a thing, they don’t do the thing, so once you do it, if you actually write your film script, or write your novel, you are more than half way towards something good happening. So that I was say [sic] my biggest life lesson that has worked. All others have failed me.”

Woody Allen (1935) American screenwriter, director, actor, comedian, author, playwright, and musician

Interview for The Collider (2008) http://collider.com/entertainment/interviews/article.asp/aid/8878/tcid/1/pg/2.

Life, People, Way, Quotes

“Do the identifications with fictions, the inner, tidal motions of pathos and libido which the novel, the film, the painting, the symphony unleash within us somehow immunize us against the humbler, less formed, but actual claims of suffering and of need in our surroundings? Does the cry in the tragic play muffle, even blot out, the cry in the street?”

George Steiner (1929–2020) American writer

Source: Real Presences (1989), III: Presences, Ch. 1 (p. 144).

Suffering, Painting, Cry

“Fellini was a man of many selves and contradictions: he quoted Dante with genuine emotion while executing pornographic doodles on the table napkin then balked at paying the lunch bill while handing out millions of lire to the beggars of Rome. Although he boasted he was heterosexual, he nonetheless directed one of the greatest bisexual films of all time. He was Mr. Cool as well as the Nutty Professor. He contains multitudes and the journey to his center never ceases. Quite simply, you end up cherishing an Onion Man with no center. Federico really had a rough time of it but pretended otherwise and had the grace never to expose his personal problems in public. And then there are the films that continuously generate new meanings. For example, 8 1/2 contains alembicated allusions to Hamlet of tremendous power and beauty that resonate in the mind long after the film is over.”

Damian Pettigrew Canadian filmmaker

On Fellini's personality, in Indiewire (April, 2003)

Beauty, Quotes, Problem, Time

“Ballet for a rainy day
Silent film of melting miracle play
Dancing out there through my window
To the backdrop of a slow descending grey”

Andy Partridge (1953) British musician

"Ballet For A Rainy Day".
Skylarking (1986)

Dance

“Dreamt I had a meeting with the Austrian Film Institute about a grant. They told me I would never get one, but I should try insurance fraud.”

Johannes Grenzfurthner (1975) Austrian artist, writer, curator, and theatre and film director

lecture performance at Mueumsquartier, Vienna, 2016

Fraud

“Novelist Michael Crichton wrote Jurassic Park as a screenplay option for the Steven Spielberg flick. I am ambiguous about Crichton’s body of work, as it includes dubious anti-scientific elements. But I can’t be too upset about a fellow who includes me in the acknowledgements of his bestselling novel. I ended up doing some preliminary studies of Tyrannosaurus and Deinonychus for the movie(s). These were significantly altered by Spielberg and Stan Winston and his effects team for copyright purposes. In the film, some of my skeletals show up posted on Sam Neill's (ak. a. Dr. Grant's) trailer wall. I was accidentally responsible for the avian term 'raptor' being improperly applied to dromaeosaurs. In another Hunteria paper and PDW, I synonymized Deinonychus with Velociraptor, which Crichton picked up on and shortened into the convenient handle 'raptor'. The movie was okay, but I will never forgive them for presenting Brachiosaurus as such a heavy limbed clunker. I had nothing to do with that. I thought it was too bad the potentially omnivorous brachiosaurs – which were unlikely to have been as placid as cattle – missed the opportunity to snarf up the bratty kids when they were up in the tree.”

Gregory Scott Paul (1954) U.S. researcher, author, paleontologist, and illustrator

Autobiography, part IV http://gspauldino.com/part4.html, gspauldino.com

Forgiveness, Tree, Study

“These sprays, dusts, and aerosols are now applied almost universally to farms, gardens, forests, and homes — nonselective chemicals that have the power to kill every insect, the "good" and the "bad," to still the song of birds and the leaping of fish in the streams, to coat the leaves with a deadly film, and to linger on in soil — all this though the intended target may be only a few weeds or insects. Can anyone believe it is possible to lay down such a barrage of poisons on the surface of the earth without making it unfit for all life? They should not be called "insecticides," but "biocides."”

Rachel Carson book Silent Spring

Silent Spring (1962)

Life, Home, Bird, Fish

“From the point of view of photography, I'll smite the picture with sun rays. I'll take old stock shots and scratch them; I'll claw at them so that unknown beauty sees the light of day. I shall sculpt flowers upon the film stock.”

Isidore Isou (1925–2007) Romanian-born French poet, film critic and visual artist

Venom and Eternity (1951), Danielle's Monologue

Beauty, Flowers, Light, Sun

“I think Donkey Punch is an extreme thriller or an extreme reality-based thriller. The whole point of the film is it's grounded in reality.”

Olly Blackburn Film director and screenwriter

[Exclusive interview with Oliver Blackburn, Total Film, http://www.totalfilm.com/trailers/donkey-punch-exclusive-interview-with-oliver-blackburn, 2011, Future Publishing Limited, 23 February 2012]

Thinking, Reality

“Before seeing Truffaut's Small Change, I was afraid it was going to be one of those simple, natural films about childhood which I generally try to avoid — I'm just not good enough to go to them. But this series of sketches on the general theme of the resilience of children turns out to be that rarity — a poetic comedy that's really funny.”

Pauline Kael (1919–2001) American film critic

Review of Small Change, from When The Lights Go Down (Holt, Rinehart and Winston, 1980, ISBN 0-030-42511-5).

Children, Nature, Change, Childhood

“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.”

Dadasaheb Phalke (1870–1944) Indian producer-director-screenwriter

After watching the film The Life of Christ in 1910 quoted in *[Ganti, Tejaswini, Bollywood: A Guidebook to Popular Hindi Cinema, http://books.google.com/books?id=2GAdCp1VAf0C&pg=PA8, 5 March 2013, Routledge, 978-1-136-84929-9, 92]
Quote

Life, God, Imagination, Time

“I like to think of myself as the ultimate anti-postmodernist post-modernist. Notwithstanding the unusual narrative or visual devices that appear in many of the films, what have kept me going for the three years of investigating [for The Thin Blue Line, was the belief that there answers to questions such as, Adams did it, didn't he? Or Harris did it, didn't he? That it's not just up for grabs. Today, I believe there's a kind of frisson of ambiguity. People think that ambiguity is somehow wonderful in its own right, an excuse for failing to investigate. What can I say? I think this view is wrong. At best, misguided. Maybe even reprehensible.”

Errol Morris (1948) American filmmaker and writer

Source: The Anti-Post-Modern Post-Modernist http://errolmorris.com/content/lecture/theantipost.html

People, Question, Thinking, Appearance

“Carné used to behave like a hysterical maniac. I had a small part in that film. Maurice Ronet and Annie Girardot were also in it. He was screaming like a maniac. But he was a masterful director. LES ENFANTS DU PARADIS is one of the greatest films ever made.”

Donald O'Brien (actor) (1930–2003) Italian film and TV actor

Euro Trash Cinema magazine interview (March 1996)

Parting

“Of course, all films are surrealist. They are because they are making something that looks like a real world but isn't.”

Michael Powell (1905–1990) English film director

Attributed

World

“A guy once told me, I didn't know you went to South America. I said, I've never been to South America. But I saw you in a film (EMANUELLE GLI ULTIMI CANNIBALI), with snakes and every damn thing…That was Croce Verde.”

Donald O'Brien (actor) (1930–2003) Italian film and TV actor

Euro Trash Cinema magazine interview (March 1996)

Guy

“I’ve directed a fair amount of stuff in the past, such as music videos, commercials and short films and I believe that the best way to learn in this industry – I mean, you can go to film school and that’s good – but ultimately, the only way you’re ever going to learn is through raw experience.”

Olly Blackburn Film director and screenwriter

[IndieLondon, Donkey Punch - Olly Blackburn interview, http://www.indielondon.co.uk/Film-Review/donkey-punch-olly-blackburn-interview, www.indielondon.co.uk, 23 February 2012, 2008]

School, Music, Way, Learning

“The beautiful Monique insists on joining their expedition and cannot be dissuaded; we think at first she has a nefarious motive, but no, she's probably taken a class in screenplay construction and knows that the film requires a sexy female lead. This could be the first case in cinematic history of a character voluntarily entering a movie because of the objective fact that she is required.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/around-the-world-in-80-days-2004 of Around the World in 80 Days (16 June 2004) Reviews, Three star reviews

Beauty, History, Motivation, Thinking

“Sometimes I pick up a magazine and read a piece of film criticism — to the end only if I like it. I don't like those which are too free with praise because their reasons seem wrong and that annoys me. Critics who attack me do so for such contradictory reasons that they confuse me, and I am afraid that if I am influenced by one, I will sin according to the standards of the other.”

Michelangelo Antonioni (1912–2007) Italian film director and screenwriter

Encountering Directors interview (1969)

Reading

“I don't care who is with me. I want this ban to be implemented because as a doctor I believe that more than any medium, films influence impressionable minds.”

Anbumani Ramadoss (1968) Indian politician

After banning portrayal of smoking in films, as quoted in " Statutory warning http://indiatoday.intoday.in/story/health-minister-anbumani-ramadoss-set-to-ban-smoking-on-screen-film-industry-not-amused/1/192935.html", India Today (10 October 2005)

“I didn't like Jaya's Hazaar Chaurasi ki Ma, though I did like her performance. I felt the movie was too verbose. I thought why did they have to make a film? They could have simply written an article.”

Amitabh Bachchan (1942) Indian actor

Quotable quotes by Amitabh Bachchan.

“The audience is equally responsible for making Scary Movie 3 as the studio system is because as long as they continue to go see Fast and Furious 4, they're going to make it. You have to remember that studio heads went to NYU and stuff and film school and they wanted to make great films and were seduced by The Godfather and instead, this is the world that were in.”

Natasha Lyonne (1979) actress

Suicidegirls interview (2004)

World, School

“My hope is that Casino Royale has not only re-invented James Bond, but made him relevant for the 21st century. The target audience has shifted. Although there's nothing in Casino Royale that will exclude teenagers, this 007 is aimed squarely at adults. The November release date is also perfect — the film is almost too dark and serious for the kind of lighthearted, mindless fun we associate with summer blockbusters. In recent years, I have come to each new James Bond movie with a series of ingrained expectations. For the most part, the Brosnan films met them across the board. Casino Royale defies many of them, and I couldn't be happier.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/php_review_template.php?identifier=769 of Casino Royale (2006). Three-and-a-half star reviews

Hope, Summer, Parting, Perfection

“It was insane, I wish I had filmed it. It was like bringing an audience to the Mona Lisa and asking, 'Do you know why she is smiling?' 'Sorry Leonardo, you'll have to make some changes.' At least the audience understood that THX was not a love story set in the 25th century, which was the way Warners had planned to advertise it. Instead the company settled for 'Visit the future, where love is the ultimate crime.”

George Lucas (1944) American film producer

On a test audience screening of THX 1138
Interview with Judy Stone (1971)

Love, Smile, Way, Change

“I do so many convention appearances and have a lot of face-to-face interaction with the fans. They tell me that they prefer seeing a live human being in a costume. Humans like to watch other humans, period, whether it’s in makeup or not. They can appreciate the artwork that goes into computer graphics—it’s an art form unto itself, getting better all the time—but there’s something connectable when you actually have a live person. The true fanboys actually want to connect with another person, that’s what I’m told. Me personally, as an audience member, I can appreciate the artistry of both types. When it’s completely rendered by an artist with no live performers involved, sometimes it can look like you’re watching a video game. That takes you out of the film for just a second. What I love about the medium is when they can be combined.”

Doug Jones (actor)

Doug Jones, Unmasked https://www.interviewmagazine.com/culture/doug-jones-falling-skies (July 30, 2013)

Love, Art, Game, Appearance

“Pearl Harbor is a two-hour movie squeezed into three hours, about how on December 7, 1941, the Japanese staged a surprise attack on an American love triangle. Its centerpiece is 40 minutes of redundant special effects, surrounded by a love story of stunning banality. The film has been directed without grace, vision, or originality, and although you may walk out quoting lines of dialog, it will not be because you admire them.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/pearl-harbor-2001 of Pearl Harbor (25 May 2001) Reviews, One-and-a-half star reviews

Love, Quotes

“Troy: Hi, I'm Troy McClure. You may remember me from such educational films as Lead Paint: Delicious but Deadly and Here Comes the Metric System!. Today I will be your narrator in this sex-ed film called Fuzzy Bunny's Guide to You-Know-What.”

Phil Hartman (1948–1998) Canadian American actor, comedian, screenwriter, and graphic artist

On the Simpsons, Troy McClure

Education, Sex, Painting

“…and it's a story that might bore you but you don't have to listen, she told me, because she always knew it was going to be like that, and it was, she thinks, her first year, or actually weekend, really a Friday, in September, at Camden, and this was three or four years ago, and she got so drunk that she ended up in bed, lost her virginity (late, she was eighteen) in Lorna Slavin's room, because she was a Freshman and had a roommate and Lorna was, she remembers, a Senior or Junior and usually somestimes at her boyfriend's place off-campus, to who she thought was a Sophomore Ceramics major but who was actually either some guy from N. Y. U., a film student, and up in New Hampshire just for The Dressed to Get Screwed party, or a townie.”

Bret Easton Ellis The Rules of Attraction

The Rules of Attraction (1987)

Guy, Thinking

“Indian film awards lack credibility.”

Aamir Khan (1965) Indian film actor, director, and producer of Hindi Cinema

Statement, when asked that why he don't attend any awards of Indian Cinema, 27 February, 2008. http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/bollywood/article3445727.ece.

“One man writes a novel. One man writes a symphony. It is essential that one man make a film.”

Stanley Kubrick (1928–1999) American film director, screenwriter, producer, cinematographer and editor

Quoted in The Edmonton Journal (8 March 1999), C3

“I wanted to be an actor or be a director since I was a very small child. I mean, my mother went into labor at a movie theater. There were, like, four movie theaters around us when I was growing up in Austin. Movies became my babysitter. I think I saw more films than I saw reality. Then I noticed something when I was in my late teens that really made my thinking shift in what I wanted to do with film. When I was watching a film as a young man, there would be a second or two when I drifted outside of myself. I noticed how for a moment, in the image and music and train of information, I was traveling through the film, leaving myself. And I knew that was something I wanted to do. I wanted to see how long I could make that feeling go on—if I could take someone outside themselves, outside their body for a minute, five minutes, maybe even 80 minutes, 90 minutes.”

Tobe Hooper (1943–2017) American film director, screenwriter and producer

Tobe Hooper Interview http://www.interviewmagazine.com/film/tobe-hooper/#_ (July 14, 2014)

Music, Travel, Feeling, Thinking

“In my earlier days I had read the biography of Sri Ramakrishna written by Romain Rolland. I had read the talk which Vivekananda had delivered long ago about "My Master". I had visited Sri Ramakrishna's room at Dakshineshwar. I had also seen a Bengali film on his life. But what brought me into an intimate and living contact with this great mystic and bhakta and shakta and advaitin, was his Kathamrita. He had not used a single abstraction nor discussed any of the problems which pass as philosophy. His talks embodied expressions of a concrete consciousness which had dropped every trace of the dirt and dross and inertia which characterise what is known as normal human consciousness. The metaphors which sprang spontaneously from this purified consciousness were matchless in their aptness and illumined in a few words the knotted problems which many voluminous works had failed to solve. I was now having my first intimations of immortality towards which Kabir and Nanak and Sri Garibdas had inclined me earlier.”

Sita Ram Goel (1921–2003) Indian activist

How I became a Hindu (1982)

Life, Problem, Reading

“[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.”

Terry Gilliam (1940) American-born British screenwriter, film director, animator, actor and member of the Monty Python comedy troupe

Interview http://www.youtube.com/watch?v=CAKS3rdYTpI to TCM comparing the work of Steven Spielberg and Stanley Kubrick (2009)

Stupidity, Home, Thinking, Success

“It was Italian playwright and screenwriter Ennio Flaiano who first spoke to Fellini of Fernando Pessoa during their collaboration on I Vitelloni (1953). Fellini claimed, however, that it was not until he lunched with Anthony Burgess in the mid 1970s (when the British writer owned a country house in Bracciano north of Rome) that he began reading the Portuguese poet in earnest. This is not to suggest that Pessoa influenced Fellini in any direct way but simply to note a genial coincidence embedded within two autobiographical masterpieces. The first quotation is from Pessoa’s O Livro do desassossego: ‘These are my Confessions, and if in them I say nothing, it’s because I have nothing to say.’ The second is from Fellini’s Otto e mezzo (1963) during the crucial night scene at the base of the scaffolding when Guido confesses to Rosella, “I have really nothing to say in my film. But I want to say it anyway.” Suddenly, the disparate obsessions of these two great Mediterranean minds seem to fold into one another, if only for an instant, like the sounds of vibrating wires touched simultaneously. Whatever the ultimate significance may be, it amuses me to think that textual coincidences of this nature are proof of the brotherhood of artists.”

Damian Pettigrew Canadian filmmaker

On Fellini and Fernando Pessoa
Federico Fellini: Sou um Grande Mentiroso (2008)

Way, Nature, Thinking, Reading

“I still don't look at movies twice. It's funny, I just feel I got it the first time. With music it's different. People respond so differently to the whole issue of seeing a movie many times. I'm astonished when I talk to really good critics, who know their stuff and will see a film eight or ten or twelve times. I don't see how they can do it without hating the movie. I would.”

Pauline Kael (1919–2001) American film critic

"The Perils of Being Pauline," interview with Francis Davis, The New Yorker (October 2001).
Interviews

Hate, People, Music, Feeling

“It's not hard to understand why an accomplished director like Gus Van Sant (whose most recent success, Good Will Hunting, gave him mainstream clout) would be interested in making this film. The lure of an exact remake presents a tremendous challenge. Unfortunately, it was undoubtedly a lot more stimulating for Van Sant and his crew to make Psycho than it is for an audience to watch it. [C]uriosity is going to be one of the primary reasons why people pay money to see this movie; boredom will be the predominant result.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/php_review_template.php?identifier=1423 of Psycho (1998). One-and-a-half star reviews

Money, People, Understanding, Success

“The first time Return of the Jedi was released I felt it did not have that much impact and the part of Oola seemed quite insignificant to the film although after saying that it was the opposite because her setting the scene up for Princess Leia. But the second time, I still can't believe the popularity the impact it has had on society, plus not just our generation but all the people that have been born since the beginning of Star Wars up until now.”

Femi Taylor British writer

Q&A with Femi Taylor http://www.lucasfan.com/interviews/femitaylor.html (January 2, 1999)

War, People, Star, Time

“I'm not anti-Semitic. My Gospels are not anti-Semitic. I've shown it to many Jews and they're like, it's not anti-Semitic. It's interesting that the people who say it's anti-Semitic say that before they saw the film, and they said the same thing after they saw the film.”

Mel Gibson (1956) American actor, film director, producer and screenwriter

"Gibson: I'm not anti-Semitic", Tom Tugend, Jerusalem Post, February 9, 2004

People

“The film studios learned to our dismay but to their pleasure that if they spent $200 million making a film they could make half a billion on it. So they were not interested anymore in quality films… They can’t afford to be that risky at those prices. Consequently you’re getting a lot of remakes, sequels, dopey comedies full of toilet jokes…”

Woody Allen (1935) American screenwriter, director, actor, comedian, author, playwright, and musician

BBC radio interview (2011) http://www.youtube.com/watch?v=Ef-JHO9BoJM.

Pleasure, Learning

“I did terrible little plays in New York that we put up ourselves. My first movie was this independent that I did on the Erie Canal in 1995, called Erie, that I don't know if you could even get, actually with Felicity Huffman. And then from that I did this film that was eventually called The Broken Giant later that fall. And then I kind of started getting into doing pilots.”

Will Arnett (1970) Canadian actor

"The Will Arnett Interview," Television Without Pity (2005) http://www.televisionwithoutpity.com/articles/content/a1005/index-3.html 2005

“Twenty-one years between first and second films is longer than any director should have to wait. The case of Polonsky is one of the most dismal hangovers from the McCarthy period.”

Abraham Polonsky (1910–1999) American politician

David Thomson, The New Biographical Dictionary of Film, page 689, Alfred A. Knopf, New York, 2003, ISBN 0-375-41128-3
About

Waiting

“In England, I get offered films. I don't get offers in America. People don't know what to do with me in America. And I've disappeared.”

Gillian Anderson (1968) American-British film, television and theatre actress, activist and writer

Associated Press (January 20, 2006) "American tragedy", Chicago Tribune RedEye Edition, Chicago Tribune, p. 52.
2000s

People

“I can count on one of my hands, how many competent people are working in the [Hungarian] media today. But the situation is also woeful in the areas of theatre, film production and fine arts. The whole Hungarian culture is in a deep crisis, the putrescence reigning this country – in a cultural, economic, political, moral and mentalecological sense – consumes everything.”

Róbert Puzsér (1974) hungarian publicist

Egy kezemen meg tudom számolni, hány alkalmas ember dolgozik ma a médiában. De siralmas a helyzet a színház, a filmgyártás és a képzőművészet területén is. Az egész magyar kultúra mélységes válságban van, a rothadás, ami uralja az országot – kulturálisan, gazdaságilag, politikailag, etikailag és mentálökológiailag – mindent elemésztő.
Idegen test az RTL Klubon - Puzsér Róbert-interjú, hvg.hu, 2012. március 20.
Quotes from him, Interviews

People, Art, Sense, Country

“Much has been written about Generation X and the films about it. Clerks is so utterly authentic that its heroes have never heard of their generation. When they think of "X," it's on the way to the video store.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/clerks-1994 of Clerks (4 November 1994) Reviews, Three star reviews

Way, Thinking

“You can think of my films as cautionary tales, but you might even think of them as despairing tales, because at least in a cautionary tale, you have this idea that by listening to the story you can assure a better outcome. Whereas I'm not at all convinced that's the case. In fact, if anything, I'm convinced that it's the opposite.”

Errol Morris (1948) American filmmaker and writer

Source: Stop Smiling Magazine with James Hughes http://www.errolmorris.com/content/interview/stopsmiling0306.html

Idea, Thinking, Despair

“What had originally been a straightforward battle of ideas between anarchy and fascism had been turned into a kind of ham-fisted parable of 9-11 and the war against terror, in which the words anarchy and fascism appear nowhere. … It struck me that for Hollywood to make V for Vendetta, it was a way for thwarted and impotent American liberals to feel that they were making some kind of statement about how pissed off they were with the current situation without really risking anything. It’s all set in England, which I think that probably, in most American eyes, is kind of a fairytale kingdom where we still perhaps still have giants. It doesn’t really exist; it might as well be in the Land of Oz for most Americans. So you can get set your political parable in this fantasy environment called England, and then you can vent your spleen against George Bush and the neo-conservatives. Those were my feelings, and I must admit those are completely based upon not having seen the film even once, but having read a certain amount of the screenplay. That was enough.”

Alan Moore (1953) English writer primarily known for his work in comic books

On the film adaptation of V for Vendetta
Alan Moore on Anarchism (2009)

War, Way, Feeling, Idea

“As a child, I wanted to become a scientist, a magician, a poet, an architect, an illustrator, a sculptor, an actor, a philosopher, a photographer, a playwright and an animator. So by the time I was 13 or 14, I was convinced that it would be possible to a be of all of these if I made films.”

Anand Gandhi (1980) Indian film director

"One-on-one with Ship of Theseus’ Anand Gandhi" at film army (3 September 2012) http://www.blog.filmarmy.ca/2012/09/11076/

Time, Animals

“People who are just getting "seriously interested" in film always ask a critic, "Why don’t you talk about technique and 'the visuals' more?" The answer is that American movie technique is generally more like technology and it usually isn’t very interesting.”

Pauline Kael book Going Steady

Going Steady (1969), Trash, Art and the Movies (February 1969)

People

“The cinema is about other things than storytelling. What you remember from a good film -- and let's only talk about good films -- is not the story, but a particular and hopefully unique experience that is about atmosphere, ambience, performance, style, an emotional attitude, gestures, singular events, a particular audio-visual experience that does not rely on the story.”

Peter Greenaway (1942) British film director

"105 Years of Illustrated Text" in the Zoetrope All-Story, Vol. 5 No. 1.
105 Years of Illustrated Text

“At first, I didn't intend to use the [vocal] piece in the film [Godzilla vs. Mechagodzilla II]. I instead planned to use it only as a timing cue. So, I originally wrote it only with nonsense syllables. Since the piece was going to be sung by children, difficult words would not have been appropriate. Latin also wouldn't have worked. So, I decided to use Ainu. The Ainu live in Hokkaido, close to Adonoa Island.”

Akira Ifukube (1914–2006) Japanese composer

As quoted by David Milner, "Akira Ifukube Interview II" http://www.davmil.org/www.kaijuconversations.com/ifukub2.htm, Kaiju Conversations (December 1993)

Children, Time

“My interest was dance and, in the beginning, I didn't enjoy acting at all. It was my mother who brought me into films and who looked after my career. I remember each time a producer came to meet her, my only reaction was, 'Oh God, another year of my life gone.”

Hema Malini (1948) Indian actress, dancer and politician

Hema Malini : Quotes, 6 December 2013, Internet Media Data Base http://m.imdb.com/name/nm0004564/quotes,

Life, God, Time, Dance

“The latest chapter of the venerable slasher film saga represents the tenth movie to use the title (although only the ninth with Myers); it's a sequel to the remake but not necessarily a remake of the sequel. It is also a complete and utter abomination. The film is so bad that it may make me rethink my stance on installment #6 (The Curse of Michael Myers) as the worst entry. That one, at least by all accounts, was severely compromised as a result of distributor interference. This one represents Rob Zombie's "vision."”

James Berardinelli (1967) American film critic

That being the case, he's blind. Review http://www.reelviews.net/php_review_template.php?identifier=1780 of Halloween II (2009). Half-star reviews

“Am I the only one who thinks that David Beckham should film a sex scene with Brad Pitt? I don't know who's in charge of casting in Hollywood, but get it done before one of them is past their prime. Can you imagine those two making love? If there is not a man in here who's junk doesn't even wiggle at the thought of it, and this has nothing to do with your homophobic beliefs. At that level, it's art, you monkey! You should feel privileged that you get to breathe the same air as those Greek gods!”

Daniel Tosh (1975) American stand-up comedian

Happy Thoughts (2011)

Love, God, Making love, Art

“I was never proud of anything. I just did it like everything else. To do a film - let me explain to you - it's like having a baby. You labor, you labor, you labor, and then you have it. And then it grows up and it grows away from you. But to be proud of giving birth to a baby? Proud? No, every cow can do that.”

Luise Rainer (1910–2014) German-born Austrian and American film actress

Spartacus Schoolnet biography http://www.spartacus.schoolnet.co.uk/USArainer.htm

Birth, Baby

“When modern horror films or fundamentalists talk about “demons,” they mean something very different than what Socrates meant by the term. It was a lot closer to what I was talking about: the essential drive, the highest self, if you like. So maybe there is a connection, when I met, or appeared to meet, a demon. It was a little bit frightening at first, but after a while we found that we got on OK and we could have a civilized conversation, and I found him very engaging, very pleasant. And it struck me that this was a brilliant literal example of the process of demonization. That when I had approached the demon with fear and loathing, it was fearsome and loathsome. When I approached it with respect, then it was respectable. And I thought, All right, there’s a kind of mirroring that is going on here that is probably applicable to a wide number of social situations. The people or classes of people that we demonize, and that we treat with fear and loathing, respond accordingly. We are projecting a persona of manner of behavior upon them, as well as responding to a manner of behavior that’s already there. When we’re looking at the flaws in their personality that we are able to recognize, the fact that we can recognize them suggests that they are probably in some way a version of flaws that we have ourselves.”

Alan Moore (1953) English writer primarily known for his work in comic books

As quoted in ""HEY, YOU CAN JUST MAKE STUFF UP." Differences between magic and art: None" https://www.believermag.com/issues/201306/?read=interview_moore, by Peter Bebergal, The Believer, (2013). The Believer interview (2013)

People, Fear, Way, Behavior

“If I had done things differently, I'd probably have the paparazzi waiting around for me. At the studio where I've been recording, Jessica Simpson is working there, too. The paparazzi are outside waiting for her to come out. That's the result of her decisions. My decisions have led me to the point that when I walk out in front of the paparazzi, I'm considered a waste of film.”

John Mayer (1977) guitarist and singer/songwriter

How he shows self-restraint with his fame Small, Mark (2005). "John Mayer '98: Running with the Big Dogs" http://www.berklee.edu/bt/172/coverstory.html Berlee.edu (accessed February 11, 2010)

Decision, Waiting

“I wanted one thing – to show the fantastic world created by nature over millions of years. Film offered me that chance.”

Karel Zeman (1910–1989) Czech film director, artist and animator

Šlo mi o jedno — ukázat fantastický svět, který vytvořila příroda před mnoha miliony let. A film mi tuto možnost nabízel. Quoted on the website of the Karel Zeman Museum in Prague (in English http://www.muzeumkarlazemana.cz/en/karel-zeman/quotes and Czech http://www.muzeumkarlazemana.cz/cz/karel-zeman/citaty).

World, Nature, Chance

“These new means [in the modern film, 1920's] have given us a new mentality. We want to see clearly, we want to understand mechanisms, functions, motors, down to their subtlest details. Composite wholes are no longer enough for us – we want to feel and grasp the details of those wholes – and we realise that these details, these fragments, if seen in isolation, have a complete and particular life of their own... Close-ups in the cinema are a consecration of this new vision... A shoe as beautiful as a picture. A picture as beautiful as an X-ray machine.”

Fernand Léger (1881–1955) French painter

Quote from: 'Actualités, Fernand Léger', in 'Varietés nr. 1', 1928, pp. 522-23
Quotes of Fernand Leger, 1920's

Life, Beauty, Shoe, Feeling

“Voulagris asked me to find film funding for what was to be the last but unfinished film project of Elia Kazan, a personal friend of Voulgaris. The subject of the film was the immigration of the Kazan family from the beleaguered Greek minority communities under Turkish rule in Asia Minor to the safe haven of the USA where the Kazan family settled. I arranged a meeting between Elia Kazan and the London based film financier Frixos Constantini of Poseidon Films at the Grand Bretagne Hotel in Athens. What followed from this meeting is that Mr Constantini put Elia Kazan in touch with Martin Scorsese a personal friend of Mr Constantini and who also runs the production company Cappa films. And so it was that these two giants of US cinema met for the first time.”

Angelique Rockas South African actress and founder of Internationalist Theatre, London

Interview on Helenism .net (September 2011)

Family, Communication, Time, Personality

“We started shooting the film before they'd even come up with a working model of King Kong, it wasn't unusual for the wardrobe to be decided on the day before a scene was going to be shot - usually those things are worked out months in advance. We had a veteran crew, and our cameraman, Harold Wellman, had actually worked on the original 'King Kong' in 1933. It was my first movie, of course, and people would take me aside and tell me that no matter how many more movies I made, I'd never make another one like this”

Jessica Lange (1949) American actress

Jessica Lange: Woman Behind the Ape http://www.rogerebert.com/interviews/jessica-lange-woman-behind-the-ape (December 17, 1976)

People

“People come up to me and say "Steve, what is film editing?" And I say "How should I know? You're the director."”

Steve Martin (1945) American actor, comedian, musician, author, playwright, and producer

Introducing the film editing award at the Oscars.

People

“Movie-making is not my favorite medium, because you’re on the set for 12 hours and you might only film for three minutes. It’s very much hurry up and wait. So, although I loved doing the film, it wasn’t quite what I expected.”

Helen Reddy (1941) Australian actress

On her experience in filming Pete's Dragon
Freeman interview (September 2012)

Love, Waiting

“Gangsta rap-based filmings became the buildin blocks
For children with leakin ceilings catchin drippins with pots
Coupled with compositions from Pac, Nas's "It Was Written"
In the mix with my realities and feelings
Living conditions, religion, ignorant wisdom and artistic vision
I began to jot, tap the world and listen,”

Lupe Fiasco (1982) rapper

Albums, Lupe Fiasco's Food & Liquor (2006)

Wisdom, Children, World, Religion

“I was called the ‘Ugly Duckling’ of Hindi films because of my dark complexion and South Indian features. I used to feel deeply hurt when people compared me with the leading heroines of the time and said I was no match for them. I was determined to make it big on sheer merit.”

Rekha (1954) Indian film actress

The diva rules

People, Feeling, Time, Hurt

“One of the key topics, for me, is a study of the individual in relation to crowds and to power. A film essay on crowd psychology would avoid commentary (it has become the madness of secondary discourse in many documentaries) and rely wholly on sound and image. Ideally, it would try to provide us with new concepts on the nature of society, on violence, and on the political bestiality of our times that is linked to the way the media has become a plague of words and images stripped of substance. It is a plague infecting our lives and, as a consequence, the history of nations with all that is sensational, random, and confused.”

Damian Pettigrew Canadian filmmaker

On key topics in the documentary genre, Sundance Channel Interview (July 2004)

Way, History, Nature, Study

“I could list some Japanese films illustrating this, but the last thing the audience for Memoirs of a Geisha wants to see is a more truthful film with less gorgeous women and shabbier production values.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/memoirs-of-a-geisha-2005 of Memoirs of a Geisha (9 December 2005) Reviews, Two-and-a-half star reviews

Women, Truth

“Oh God — I look back now, and it seems so gross. At just 14 years old, I had to wear a thong bikini. And then they used that scene in the trailer, so my entire school saw it! There are still men who come up to me today and say, "You were really hot in that film!"”

Katherine Heigl (1978) American actress and film producer

I was 14, for God's sake!
Discussing her scene in My Father The Hero in an interview with FHM (October 2000)

Men, God, School

“I don't take stuff seriously. I saw 'Hellraiser 3' the other day at Cannes; it's OK, it's a good film, I didn't hate it or anything. I thought it was quite good, but it was all just so serious. Some guy walking round with pins sticking out of his face. I just can't sit there and think,'this is really scary.' If I made a 'Hellraiser' film, I'd like Pinhead to be whacked against a wall and have all the pins flattened into his face.”

Peter Jackson (1961) New Zealand film director, producer, actor, and screenwriter

Trash City Interview http://members.tripod.com/hc_faq/5.2.1.1.htm (1992)

Hate, Guy, Thinking

“You read reviews by top reviewers of films that not only had remarkably interesting scores, but films whose effectiveness was absolutely enhanced, and frequently created by the music, yet the reviewers seem unaware that their emotions and their nervous reactions to the films have been affected by the scoring. This is a serious flaw. Any film reviewer owes it to himself, and the public, to take every element of the film into account”

Jerry Goldsmith (1929–2004) film composer

ibid., p. 209
On Goldsmith's irritation at the lack of response from responsible critics

Music, Reading

“If you want to do a film, steal a camera, steal raw stock, sneak into a lab and do it!”

Werner Herzog (1942) German film director, producer, screenwriter, actor and opera director

Werner Herzog Eats His Shoe (1980)

“Wal-Mart has made it known that it will decline to stock Roecker's film, an honor despite itself and one that speaks volumes about Roecker's talents.”

John Roecker (1966) American film director

[Austin Chronicle, http://www.austinchronicle.com/screens/2006-01-27/329543/, Punk, Puppets, and Manson as Messiah: John Roecker on 'Live Freaky! Die Freaky!', January 27, 2006, Marc, Savlov, Austin Chronicle Corp.]
About

“Zero sum game implies winners and losers. If somebody wins, somebody gotta lose…. I don’t agree with that. Because all boats can rise on a rising sea. Good films help other good films. Different psychology. If you’re overly competitive, you say it is exclusionary, a zero sum game: I must win so he must lose. That’s not true. We can all win without forcing the other guy to lose.”

Oliver Stone (1946) American film director, screenwriter, and producer

Wall Street DVD Director’s Commentary (2000)

Guy, Game, Help, Sea

“I've always been a fan of the [Rocky] films, even the fifth, that I know some people didn't care for, I've always enjoyed them. I thought they were great. It really just got into the underdog story and how if you have your mind in the right direction, and your heart is full of the right kind of stuff, you'll succeed and you'll triumph over adversity, over really anything.”

Milo Ventimiglia (1977) American actor

"Interview: Milo Ventimiglia Gets In the Ring For Rocky Balboa", MovieWeb (13 December 2006) https://movieweb.com/interview-milo-ventimiglia-gets-in-the-ring-for-rocky-balboa/.

People, Heart

Quotes about film page 3

Quotes about film
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