My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.— Saul Bass
Stunning Film Set quotations
Maybe It's not the biggest blockbuster film, but there will be some people that will see it, that will be debating it, that will be questioning their own sense of spirituality. If the film resonates, then I have succeeded in what I set out to do.
Directing ain't about drawing a neat little picture and showing it to the cameraman. I didn't want to go to film school. I didn't know what the point was. The fact is, you don't know what directing is until the sun is setting and you've got to get five shots and you're only going to get two.
Film noir is not a genre. It is not defined, as are the western and gangster genres, by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood. It is a film 'noir', as opposed to the possible variants of film gray or film off-white.
I thought The Visitation was good fun. We did some of that filming at Ealing on the big set.
Venice never quite seems real, but rather an ornate film set suspended on the water.
I have a way of filming things and staging them and designing sets.
There were times when I thought I should change my approach, but in fact, this is what I like to do. It's sort of like my handwriting as a movie director. And somewhere along the way, I think I've made the decision: I'm going to write in my own handwriting.
One of the great things about being a director as a life choice is that it can never be mastered. Every story is its own kind of expedition, with its own set of challenges.
Oh, what the hell did I know? I went to the set the first day in full makeup and the director told me to take it off. So I did the film without makeup. I had nothing to do with anything I did. I never understood why I was so famous.
I meditated before I hosted the Oscars, I meditate before I go on stage, I meditate in the morning and lunchtime when I'm on a film set.
Usually I'm frustrated when I look at my films and I don't believe that I've made a real transformation beyond my usual sets of gestures and expressions. I still have this nagging feeling that it's me, that I didn't create a unique character.
There are moments when I can wander through my childhood's landscape, through rooms long ago, remember how they were furnished, where the pictures hung on the walls, the way the light fell. It's like a film - little scraps of a film, which I set running and which I can reconstruct to the last detail - except their smell.
Even if I set out to make a film about a fillet of sole, it would be about me.
The true marker of success is when the creative minds behind a film can sit down and feel that they have succeeded in the mission they set out to accomplish - and that is to make good cinema. If we feel that we have achieved that as a team, then we have all been successful.
They're such hierarchical things, film sets, they're sort of mini societies.
Often they're incredibly political places.
I'd never watch a horror film, but after I found out I was going to be in one, I watched, like, four of them, including The Shining, I was terrified - I couldn't sleep for days. But I wanted to get myself used to things I was going to see on the set.
I love film sets, but I don't necessarily love being the center of attention.
I didn't start out thinking that I could ever make films.
I started out being a film lover, loving films, and wanting to have a job that put me close to them and close to filmmakers and close to film sets.
Making a film, setting it up and getting it cast and getting it together, is not an easy thing
Crewing and being on film sets is kind of like being in the carnival, with carnie folks.
I'll do anything to keep everyone laughing.
Things get too intense on film sets. I remember on The Elephant Man, I used to imitate a cat without moving my lips. David Lynch would say, "Cut! Sorry, we've got a noise somewhere on set." Everyone would be looking around for this cat.
I didn't go to film school. I got my education on the set as a niche publicist in the film industry.
When you make a movie, everyone should leave their own personal problems at home. When they start bringing those to set, filming can be very difficult... You don't need any extra drama. Put the drama into the story, in the characters.
I certainly don't feel like I am desperate to run away from a film set.
I love the hustle and bustle. Everything is sort of mad right before a take, and then it just settles, and you've got these two minutes of a bit of magic. I just love that in film.
If I die on a film set when I'm 80, I'll be happy with that.
I remember one time that I was filming a scene in whych my character rides through Troy on a chariot. I just looked around at this incredible set thinking 'This is the life'.
I stole a piece of the chess set on the first film.
I took a piece of the treasure out of Bellatrix's vault on this film. And I've taken my wand and I've got my cloak.
Heroes aren't athletes who set new sports records, or Hollywood actors who make 'daring' films or politicians who make bold promises. Heroes are people who place themselves at risk for the benefit of others.
Well,the fun part of being a writer is that it's like making a wonderful film, with no limit on my budget. I can design the sets, the costume, the lightings, I write the script, and then I get to perform all the roles as I step into each character's skin, zip up, and adopt that point of view. So, to me, they are all compelling and fascinating.
For me, acting is about the art of it and it's about being on a film set and doing your thing, painting a blank canvas.
I think a film set is a quite controlled environment and you feel like you can trust them and it is going to be a safe place to work, but I really don't think about it.
I come from an everyday middle class family in India.
The film industry reached us only through our television sets and cinema halls.
I'm very manipulative towards directors.
My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.
I suppose I like to set myself projects that are tight, focused, and then challenge myself with how broad I can go within that limited aspect. I think to Helmut Newton and film director, Federico Fellini - the added level of eroticism, the arousing message - and how it was possible for them to keep their signatures over so many years.
I reject the word 'script' entirely-at any rate in the usual sense.
I prefer the old usage-usually scenario-which it had in the Commedia dell'Arte, meaning an outline or scheme: it implies a dynamism, a number of ideas and principles from which one can set out to find the best possible approach to filming.