The big-budget blockbuster is becoming one of the most dependable forms of filmmaking.
The difficulty with the present state of affairs is that there is no legislation on the sources of funding for the Polish film industry. There is no legislation concerning filmmaking. And, there is no legislation on television that would be beneficial to filmmaking.
A film is a boat which is always on the point of sinking-it always tends to break up as you go along and drag you under with it.
Well, I look at it like this: When you go to a restaurant, the less you know about what happens in the kitchen, the more you enjoy your meal. If the soup tastes good, everything's cool, and you don't necessarily want to know what's in it. The same thing holds true with movies.
It's a required part of your film history to know who Woody is. His movies are so wonderful, and not just funny but so insightful about human behavior.
There is no filmmaking legislation because distributors are not interested in sharing their money with the film industry - for instance, by giving a percentage of ticket sales back to filmmakers.
Cronenberg's a lot of fun, and that a lot of people don't know watching his movies. He doesn't take himself seriously. He's still reinventing himself.
For the most part, studio movies have huge budgets. They don't do anything under 30 to 40 million. When you have that much money at stake, you have so many people breathing down your neck.
Movies either work or they don't work and they're either funny or they're not and we work very hard. To achieve that kind of work is really kind of delicate stitching.
I've always wanted to do a space movie.
It's very difficult to raise money, especially in the United States, for independent movies.
This weird thing happens when you're in a movie that has some level of success. People start offering you all kinds of things, and they just expect you to do them because they'll be good for your career. It's not about the project's integrity or anything like that.
I think people are used to seeing actors be wide open and desperately giving of themselves, and while I do that on a movie set as much as I can, it's so unnatural for me to do it on television, in interviews, in anything like that. I also don't find that my process as an actor is really anyone else's business.
Every now and then, when you're on stage, you hear the best sound a player can hear. It's a sound you can't get in movies or in television. It is the sound of a wonderful, deep silence that means you've hit them where they live.
If movies are causing moral decay, then crime ought to be going up, but crime is going down.
These movies are like my kids. I just love them to death. Some of them go to Harvard and some of them can barely graduate high school.
I'm not surprised that Spielberg was able to capture the heroism of Schindler; so many of his movies are about the better part of mankind.
Movie SF is, by definition, dumbed down - there have only been three or four SF movies in the history of film that aspire to the complexity of literary SF.
I loved all those classic figures from the '30s and '40s... Bette Davis, Joan Crawford, Humphrey Bogart, Rita Hayworth. They had such glamour and style. I loved the movies of those times too - so much attention paid to details, lights, clothing, the way the studios would develop talent.
However, that old mode of Polish filmmaking virtually disappeared.
Movies give me an opportunity to go places. I'm not only a Swede but an American, not just a man of my time, but I've been living 2,000 years ago-and not just in a new country, America, but in the Holy Land, too
On movies, you have a lot of stylists that get things too pretty. Everything gets steamed and ironed. It's just not the way we really behave.
A lot of movies aren't intended for everybody.
There's an electrical thing about movies.
People have perhaps gotten to the point where for the most part movies are a just bit of escape.
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