The thing about film-making is I give it everything, that's why I work so hard. I always tell young actors to take charge. It's not that hard. Sign your own cheques, be responsible.
I have learned from my experiences in this industry that there is absolutely no way to control people's opinions on your performance in your movie. You go out there, promote your film and hope people like the work you did.
I believe that movies are fast becoming antique and dinosauric as a medium. Film is a medium for the over-40s and television has gone the same way. If you're going to look towards the new generation, then of course you're going to have to be a lot more random, spontaneous, irreverent and provocative with your programming.
‘Blade Runner’ is such a unique film. How do you describe a diamond? I don’t think you should ever touch it again.
I think I'm an actor. You can hire me. I can do a good job. But you also have to get lucky now and then. Every film-maker knows how hard it is to do a good film. You have to just make many, and see how lucky you get.
I think it's dynamite, the way my career has just kept moving, even when people didn't know it did. I made such interesting films, but, yeah, they're not necessarily the big movies that go to the supermarket. I don't need those movies, because I don't wanna do them.
I also love Disney, and will defend doing so, because there's so much in those films and I don't care if it's stereotyped.
I like films, or some films, and would be intrigued to see my work on screen.
I like celluloid, I like film, I like the way that when a movie is projected it sort of breathes a little in the gate. That's the magic of it to me.
I still don't have a publicist. If I'm in a film, you have an obligation to promote it, I'll do as much as I can.
I think there's only one or two films where I've had all the financial support I needed. All the rest, I wish I'd had the money to shoot another ten days.
Any film, or to me any creative endeavour, no matter who you're working with, is, in many cases, a wonderful experience.
Farber had a huge effect on me as a writer. I don't mean I write like him. Farber is, first of all, a great stylist, a great writer. Anyone can read Manny Farber's film criticism, whether that person is a novelist, a poet, another critic, a historian, and learn a lot about writing by reading him.
I still love taking pictures with Polaroid film. For me, it offers the most beautiful way of capturing reality and transferring it onto a flat piece of paper.
When I make a film I'm away from home for two to three months. So I want my kids to look at my films one day and say, I love his movies, I love his choices-because he loved them.
The bad guy always gets the best scene and the best lines in the film, and they usually get the most days off.
In any film there's always a historical implication.
I have nothing against 3D films but I do not need to see them.
Jerry Bruckheimer really is an executive producer, who obviously is the most successful producer in the history of film and television.
I guess I think that films have to be made totally by fascists -- there's no room for democracy in making film.
Film and the other creative industries are being transformed by digital technologies.
I absolutely refuse to accept the fact that any country in the world goes into a kind of film-making crisis. What happens is they lose confidence, they lose focus and the young film-makers of any particular generation can very easily get lost in that mix. It's happened in Italy, happened in France, happened in the U.K. during my lifetime.
In the beginning, all I wanted to do was to be a singer and a dancer. That was my real groove, my real interest. When it came to doing films, my biggest goal was to do a commercial.
You might have a favorite book or film, but you can only watch or read it so many times before you have to let it sit and then go back and realize it's your favorite still. At some point everything gets a little stale and you have to step away from it.
You wouldn't ask Rodin to make an ugly sculpture, or me to make a film with an ugly woman.
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