And yet I think The White Cliffs of Dover one of my best films
I'm only interested in being a good actor and in being remembered for my best films, not for the way I look. But it seems inevitable in this line of work that I have to care about the way I look without getting obsessed about it.
It's a privilege. It's a real honor. It's a challenge. Michael and I always feel we stand on tall shoulders when we make these films. Audiences come to them with a lot of good will because of what's come before. We just try to make the best film we can, each time, and hope that we satisfy the fans. I'm sure, with Skyfall, that we will. I think it's a terrific film. I hope the audiences enjoy it, as much as we've enjoyed making it.
I worked as hard to write the worst film of the year as I did to write the best film of the year.
The most important part of filmmaking is the collaboration and the ensemble element of it. If you just all focus on the task and the work and try and make the best film that you can then people will come.
One hopes for that type of result but you just never know what factors will work in your favor. I think I just was concentrating on making the best film I could under the circumstances I was given. That's all I could really do.
I hate tooting my own horn, but after Steven Spielberg saw Yentl, he said: "I wish I could tell you how to fix your picture, but I can't. It's the best film I've seen since Citizen Kane".
A movie is a creative process from its conception, through its writing, to its execution, to the editing. I think with the best films there is some kind of contribution from one person all the way through that. The best films are made by people who write, direct, and edit, so there's continuity.
Your first film is always your best film, in a way. There's something about your first film that you never ever get back to, but you should always try. It's that slight sense of not knowing what you're doing, because the technical skills you learn - especially if you have a film that works, that has some kind of success - are beguiling. The temptation is to use them again, and they're not necessarily good storytelling techniques.
All I can do is try to do the best work I can. I need to work, I like to work... although I complain about it, but I do like it - and I just need to make the best film I can.
The best filmmakers, I think, have always had very narrow frameworks for their stories, and then they can go deeply, rather than skimming the surface.
I think everyone agrees First Contact was our best film, and even at that, they're kind of... I don't know, they're sort of movies. But they're kind of really Star Trek movies, if you take my meaning. It's hard for me to say. I was glad to be doing them. Whether they were good isn't really up to me to determine, and it doesn't matter what I think. I thought we had a really nice script on Nemesis, and the audience didn't seem to care for it, so what can you do?
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.
David O. Russell's best films are thrilling high wire acts that run the moment to moment risk of tumbling to the ground. In his latest, "Joy," Russell has more trouble than usual keeping his balance on the wire.
Sitting opposite Steven Spielberg, while he turns the pages of your script and talks about each scene as he goes, is about the best film school you can get.
You have to start with the notion that you pick the actor who's going to embody the role, the best person that you can find. If you don't start with that then it sort of defies the whole purpose of trying to make the best film that you can make.
And the best films feel like a fist punching you in the solar plexus and all elements of the filmmaking process - the acting, the design, the cinematography, the music, is all working to one end.
Tom Hanks hits a new career peak. One of the best films of the year.
But even a kid, directing was something that I did. I made short films in school. I feel like I've been in the best film school in the world.
When I started acting, my mom said, "If you want to go to film school and eventually direct, being on set is probably the best film school in the world." I'm incredibly grateful for the career I've had, but I was an actor to be a part of movies and TV, not the other way around.
Arguably, the Venice Film Festival is the second best film festival in the world, after Cannes.
I've learned from every director I've worked with. Everybody's style is very different, and I always say that being an actor is the best film school that I could ever go to.
France has given us the best filmmakers and food.
The best films in the world, you've got to beg and plead and try your best to get.
All we try and do is make the best films we can. If you do that then hopefully the audiences will come, and they have. Everything else is gravy.
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