c2p-cmd/Good-Quotes-Authors huggingface dataset:
I was just thinking... how it is not and it will never be okay to cause pain in someone's life just because of the fact that you are envious of them! Is someone taller than you? Richer than you? More beautiful? That doesn't make it okay to hurt those people, for all you know, they bear deep wounds and carry heavy burdens and their heartache is far greater than anything you could ever bear! People try to hurt people that they're envious of, without knowing that they are adding to what is already painful. And because someone has more than you or has what it is that you want, doesn't mean that they owe you anything! It's not their fault! Be careful, you may just be wounding an angel soul, and a wound inflicted upon an angel soul, will always, always come back to haunt- YOU.
— C. JoyBell C.
No bird in a cage has ever come to know what the mountain winds feel like, by staring at the free flying birds, wishing that they would fall from the sky!
— C. JoyBell C.
Existential envy which is directed against the other person’s very nature, is the strongest source of ressentiment. It is as if it whispers continually: “I can forgive everything, but not that you are— that you are what you are—that I am not what you are—indeed that I am not you.” This form of envy strips the opponent of his very existence, for this existence as such is felt to be a “pressure,” a “reproach,” and an unbearable humiliation. In the lives of great men there are always critical periods of instability, in which they alternately envy and try to love those whose merits they cannot but esteem. Only gradually, one of these attitudes will predominate. Here lies the meaning of Goethe’s reflection that “against another’s great merits, there is no remedy but love.
— Max Scheler
There is not a passion so strongly rooted in the human heart as envy.
— Richard Brinsley Sheridan, The Critic
The reason death sticks so closely to life isn’t biological necessity – it’s envy.
— Yann Martel, Life of Pi
Envy and resentment are terribly corrosive passions. To suffer at the sight or even the thought of others' enjoyment of life makes one a committed enemy of human happiness. Such people end up being practically a curse upon the human race. They vandalize life, exerting themselves not in the pursuit of gain or pleasure, but to hinder others' enjoyment.
— Robert Sheaffer, The Making of the Messiah
Is it not strange that the more someone has, the less he feels he has? Envy can never be sated.
— Jeff Wheeler, The Scourge of Muirwood
M. Proust was more severe than M. de Caillavet on Anatole France: "He was selfish and supercilious. He had read so much that he had left his heart in other people's books, and all that remained was dryness. One day I asked him how he came to know so much. He said, 'Not by being such a handsome young man as you. I wasn't in demand, and instead of going out I studied and learned'.
— Céleste Albaret, Monsieur Proust
The ultimate goal of the arriviste’s aspirations is not to acquire a thing of value, but to be more highly esteemed than others. He merely uses the “thing” as an indifferent occasion for overcoming the oppressive feeling of inferiority which results from his constant comparisons.
— Max Scheler, Ressentiment
I wish I’d done everything on Earth with you.
— Baz Luhrmann
It's not what a movie is about, it's how it is about it.
— Roger Ebert
Cinema is a matter of what's in the frame and what's out
— Martin Scorsese
Up until then, whenever anyone had mentioned the possibility of making a film adaptation, my answer had always been, ‘No, I’m not interested.’ I believe that each reader creates his own film inside his head, gives faces to the characters, constructs every scene, hears the voices, smells the smells. And that is why, whenever a reader goes to see a film based on a novel that he likes, he leaves feeling disappointed, saying: ‘the book is so much better than the film.
— Paulo Coelho, The Zahir
people see so many movies that when they finally see one not so bad as the others, they think it's great. an Academy Award means that you don't stink quite as much as your cousin.
— Charles Bukowski, The Last Night of the Earth Poems
[on Martin Freeman playing Bilbo Baggins] It was great. I got to hang out with him, and I kept a straight face for a bit and then I started giggling because I know Martin, I don't know Bilbo. For Martin to be sitting there playing Bilbo is amazing. He's going to be amazing, he's going to be fantastic in this film.
— Benedict Cumberbatch
The first time we did cavalry charge I was so breathless with excitement I nearly fell off the horse. I actually saw stars in front of my eyes and thought I was going to faint. The second time I had a bit more control but was still giddy with excitement. And the third time I was an emotional wreck. I had to really try hard not to cry.
— Benedict Cumberbatch
I'm sure anyone who likes a good crime, provided it is not the victim.
— Alfred Hitchcock
We all steal, but if we're smart we steal from great directors. Then, we can call it influence.
— Krzysztof Kieślowski
Film lovers are sick people.
— François Truffaut
Most directors make films with their eyes
—  I make films with my testicles.
Out of the closets and into the museums, libraries, architectural monuments, concert halls, bookstores, recording studios and film studios of the world. Everything belongs to the inspired and dedicated thief…. Words, colors, light, sounds, stone, wood, bronze belong to the living artist. They belong to anyone who can use them. Loot the Louvre! A bas l’originalité, the sterile and assertive ego that imprisons us as it creates. Vive le vol-pure, shameless, total. We are not responsible. Steal anything in sight.
— William S. Burroughs
The traveling salesmen fed me pills that made the lining of my veins feel scraped out, my jaw ached... I knew every raindrop by its name, I sensed everything before it happened. Like I knew a certain oldsmobile would stop even before it slowed, and by the sweet voices of the family inside, I knew we'd have an accident in the rain. I didn't care. They said they'd take me all the way.
— Denis Johnson, Jesus' Son
Movies are so rarely great art that if we cannot appreciate great trash we have very little reason to be interested in them.
— Pauline Kael
When less than everything has been said about a subject, you can still think on further. The alternative is for the audience to be presented with a final deduction (...) no effort on their part.What can it mean to them when they have not shared with the author the misery and joy of bringing an image into being?
— Andrei Tarkovsky, Sculpting in Time
After 100 years, films should be getting really complicated. The novel has been reborn about 400 times, but it's like cinema is stuck in the birth canal.
— Harmony Korine
I have often thought it was very arrogant to suppose you could make a film for anybody but yourself.
— Peter Greenaway
Ever director has at least 10 bad films in them.
— Robert Rodríguez, Rebel Without a Crew: Or, How a 23-year-old Film Maker with $7,000 Became a Hollywood Player
Tibby sat on the outside of a group of kids in the film program. There was a lot of dark clothing and heavy footwear, and quite a few piercings glinting in sunlight. They had invited her to sit with them while they all finished up their lunches before film seminar. Tibby knew that they had invited her largely because she had a ring in her nose. This bugged her almost as much as when people excluded her because she had a ring in her nose.
— Ann Brashares, The Second Summer of the Sisterhood
Am I in the wrong place here, or in the wrong life? Did I not recognize, as I sat in a train that raced past a station and did not stop, that I was on the wrong train, and did I not learn from the conductor that the train would not stop at the next station, either, a hundred kilometers away, and did he not also admit to me, whispering with his hand shielding his mouth, that the train would not stop again at all?
— Werner Herzog, Conquest of the Useless: Reflections from the Making of Fitzcarraldo
R means under 18 accompanied by an adult. Therefore all corporately funded films in the US must be made with the concept that those under the age of 18 are able to view the film. This means all corporately funded films in the US are made for the eyes of children.
— Crispin Hellion Glover
I guess I could be pretty pissed off about what happened to me, but it’s hard to stay mad when there’s so much beauty in the world. Sometimes I feel like I’m seeing it all at once, and it’s too much; my heart fills up like a balloon that’s about to burst. And then I remember to relax, and stop trying to hold onto it. And then it flows through me like rain, and I can’t feel anything but gratitude—for every single moment of my stupid, little life. You have no idea what I’m talking about, I’m sure; but don’t worry….you will someday.
— Alan Ball, American Beauty: The Shooting Script
i've always wanted, basically, to do research in the form of a spectacle.
— Jean-Luc Godard
If you are great, El Topo is a great picture. If you are limited, El Topo is limited.
— Alejandro Jodorowsky
Avoid the tyranny of the reasonable voice...it will guarantee a complacency of never trying anything adventurous...
— J. Michael Straczynski
No one can be the total cure for another person.
— Frank Lentricchia, The Sadness of Antonioni
A director makes only one movie in his life. Then he breaks it up and makes it again.
— Jean Renoir
In my experience there are billions of dollars available for pieces of shit. As soon as the material distinguishes itself by something interesting, financing becomes a problem.
— Rutger Hauer
No matter what they're charging to get in, it's worth more to get out.
— Roger Ebert
The camera has a mind of its own--its own point of view. Then the human bearer of time stumbles into the camera's gaze--the camera's domain of pristine space hitherto untraversed is now contaminated by human temporality. Intrusion occurs, but the camera remains transfixed by its object. It doesn't care. The camera has no human fears.
— Frank Lentricchia, The Sadness of Antonioni
I got hold of a copy of the video that showed how Saddam Hussein had actually confirmed himself in power. This snuff-movie opens with a plenary session of the Ba'ath Party central committee: perhaps a hundred men. Suddenly the doors are locked and Saddam, in the chair, announces a special session. Into the room is dragged an obviously broken man, who begins to emit a robotic confession of treason and subversion, that he sobs has been instigated by Syrian and other agents. As the (literally) extorted confession unfolds, names begin to be named. Once a fellow-conspirator is identified, guards come to his seat and haul him from the room. The reclining Saddam, meanwhile, lights a large cigar and contentedly scans his dossiers. The sickness of fear in the room is such that men begin to crack up and weep, rising to their feet to shout hysterical praise, even love, for the leader. Inexorably, though, the cull continues, and faces and bodies go slack as their owners are pinioned and led away. When it is over, about half the committee members are left, moaning with relief and heaving with ardent love for the boss. (In an accompanying sequel, which I have not seen, they were apparently required to go into the yard outside and shoot the other half, thus sealing the pact with Saddam. I am not sure that even Beria or Himmler would have had the nerve and ingenuity and cruelty to come up with that.)
— Christopher Hitchens, Hitch-22: A Memoir
That's the illusion of stillness. There is no secret. Only the implication of one by its possesor".
— David Gilmour
Bing: You’re a heel…a low down rotten heel…anything that doesn’t go your way, anything that you can’t have you destroy.
— John O'Hara, BUtterfield 8
You think you know it, but you always find out new stuff.
— Gene Siskel
Cinema is a mixed form. L'Avventura has characters, it has social context, and these things are not trivial. Its plot is the disappearance of a disappearance. Possibly the most frightening plot imaginable. Forgetting the dead, whom all of history tells us we must remember. But what makes movies themselves, rather than novels or plays, is something else. What is it if not the film medium itself? The purity of the visual, which lies in the silence of the stilled image. The freeze frame. The deeply, deeply silent image. Like death. The image in itself in its silent purity reaches--it reaches!--for the purity of death.
— Frank Lentricchia, The Sadness of Antonioni
Hollywood's Studio Era was part of a Golden Age because it didn't need profanity (unlike reality-television today)
— Manny Pacheco
I don't know.  I don't really like old movies.  The acting is so, 'Hey buddy, ol' pal.  Let's go wear our hats and have a big misunderstanding
— Stephanie Perkins, Anna and the French Kiss
The eye solicited alone makes the ear impatient, the ear solicited alone makes the eye impatient. Use these impatiences. Power of the cinematographer who appeals to the two senses in a governable way.Against the tactics of speed, of noise, set tactics of slowness, of silence.
— Robert Bresson
In the end, everything is found to be wanting.
— Frank Lentricchia, The Sadness of Antonioni
What I remember myself from films, and what I love about films, is specific scenes and characters.
— Harmony Korine
I want to die, stripped, by myself, of all fantasies. That's the goal. I want to feel what is real, at the end, and only what is real. Grip fiercely with my eyes all that is around me--the people of my intimate life, the objects in the room, without the evasions of fantasies.
— Frank Lentricchia, The Sadness of Antonioni
The body lay outside an abandoned, boarded-up theater. The theater had started as a first-run movie house, many years back when the neighborhood had still been fashionable. As the neighborhood began rotting, the theater began showing second-run films, and then old movies, and finally foreign-language films.
— Ed McBain
Žižek seems to have got Hitchcock out of his system, if not out of his unconscious—one never does that.
— Fredric Jameson
...When the bespangled Miss Charisse wraps her phenomenal legs around [Fred] Astaire, she can be forgiven everything—even the fact that she reads her lines as if she learned them phonetically.
— Pauline Kael, Kiss Kiss Bang Bang: Film Writings, 1965-1967
It's tough, man. Unless it's a tentpole, sequel, remake, or over-the-top comedy, that's all the studios are even doing. They've kind of admitted they're not in the business of doing anything else. The slightest level of irony or intelligence and, boom, you're out of the league, you're done.
— Richard Linklater
To think you cannot fight fate is only an act of surrender.
— John Duigan
Down the steps,...over the corpses,...careers the pram with the child.
— Sergei Eisenstein, The Battleship Potemkin
Here's the most startling irony I know in film history: Antonioni, who is often denigrated by left-wing critics as a formalist and aesthete gives us radical realism through the long take, and what he gives us--this is his metaphysical wager--is real outside the film, off the set, beyond the camera and underneath the surface of everyday life.
— Frank Lentricchia, The Sadness of Antonioni
If you can film an idea in your mind, follow that film idea shot for shot, scene for scene, that idea is worth making.
— Craig Mapp
But I prefer to think of my brother as a negative strip of film that led to my own development as a positive image.
— Akira Kurosawa, Something Like an Autobiography
Forget it, Jake -- it's Chinatown.
— Robert Towne, Chinatown
Let me tell you something you already know. The world ain't all sunshine and rainbows . It's a very mean and nasty place, and I don't care how tough you are , it will beat you to your knees and keep you there permanently if you let it. You, me, or nobody is gonna hit as hard as life. But it ain't about how hard you hit. It's about how hard you can get hit and keep moving forward; how much you can take and keep moving forward. That's how winning is done! Now, if you know what you're worth, then go out and get what you're worth. But you gotta be willing to take the hits, and not pointing fingers saying you ain't where you wanna be because of him, or her, or anybody. Cowards do that and that ain't you. You're better than that.
— Sylvester Stallone
By engaging with film illusions both actively and passively – as I attempt to do in this book – we strengthen the capacity of our minds to reason, imagine and think through ideas in a way unrestrained by some static conception of objective Truth. In so doing, the nihilistic gap existing between the real world and the whole variety of film worlds perhaps widens, but it also serves to offer a free, open space into which our interpretations may spill, mingle and propagate in uninhibited, nihilistic liberty.
— John Marmysz, Cinematic Nihilism: Encounters, Confrontations, Overcomings
When Walt became all wrapped up in the theme parks and live-action films, we tried to get him interested in animation again," recalls Frank Thomas, one of the Studio's "Nine Old
— Charles Solomon, Tale as Old as Time: The Art and Making of Beauty and the Beast
Any time you design a character for a Disney picture, especially a fairy tale, it's going to become the definitive design for that character, so you don't want to hack something out. You need to put in the kind of care it warrants if it's going to live in history.
— Glen Keane
Since the earliest days of the art form, humans have been the most difficult characters to animate. The more realistic the human being, the more difficult the animation becomes. Audiences will accept distortions in the actions of a cartoony character: no one has ever seen a four-foot-tall rabbit walk on its hind legs, so an artist animating Bugs Bunny enjoys considerable freedom. But everyone knows how human beings move, and if those movements are not rendered accurately, viewers won't believe in the characters.Ward Kimball, one of Disney's "Nine Old Men," commented, "As long as we deal in fantasy, we are on safe ground. The eye has no basis for comparison. But the more we try to duplicate nature realistically, the tougher our job becomes. The audience compares what we draw with what it knows to be true. Any false movement is easily detected.
— Charles Solomon, Tale as Old as Time: The Art and Making of Beauty and the Beast
A poet is someone who can use a single image to send a universal message.
— Andrei Tarkovsky, Andrei Tarkovsky: Interviews
Don't bitch or punish the world: just create. Create something nobody's ever seen before and there is a good chance the world will notice you. Attacking teen girls on the internet is the saddest form of masturbation that exists and requires no discernible skill or talent. Because if you're not being useful in this world, you're being useless. Don't be useless: go make stuff that makes people happy.
— Kevin Smith
If you want the ultimate, you’ve got to be willing to pay the ultimate price. It’s not tragic to die doing what you want.
— Point Break
In America, they have this thing called a story cycle. When they're at war, they start doing fantasy and war-style entertainment. When fantasy gets big, they go through a recession, and horror starts gaining popularity. When horror gets popular, mystery starts gaining popularity. Then when mystery reaches its peak, science fiction starts gaining popularity. Then things get rough again, and we go back to Fantasy". This quote was taken from an interview from The Myth of Cthulhu: Dark Navigation.
— Freddy Sakazaki, Land of the Rising Dead: A Tokyo School Girl's Guide to Surviving the Zombie Apocalypse
... the midpoint of each film is the moment when each protagonist embraces for the first time the quality they will need to become complete and finish their story. It's when they discover a truth about themselves.
— John Yorke, Into the Woods: A Five Act Journey Into Story
I hang up. I feel like a serious man in the emotional climax of a film that ends with a teary defeat. I wish this was in a film.
— Ben Brooks, Lolito
The camera's greedy lens sucks my image through it and splashes my pixilated ghost across his face in pale blue light.
— Tyler Knight, Burn My Shadow: A Selective Memory of an X-Rated Life
Their color slowly faded from out of the flowers
—  but their scent lingered to honey the air he breathed.
The plane touches down on very rough ground: its wheelbarrow wheels bounce and one set of wings rises alarmingly while the other dips. Now the Masai and the plane are converging. It's a magnificent shot: the Masai run, run, run, run; because of the optics it is dreamlike. The little plane bounces, shudders, slews and finally makes lasting contact with the ground. At exactly the right moment, as the plane comes to a halt, the Masai warriors, in a highly agitated state, reach the plane, and the camera closes on the pilot, whose face as he removes his leather flying helmet and goggles, appears just above the bobbing red ochre composition of plaited hair and fat-shone bodies. It is Mel Gibson, with a grave expression, which can't quite suppress his unruly Aussieness.
— Justin Cartwright, Masai Dreaming
Certain directors and actors were constantly preoccupied by one problem, and apparently, one only. This was connected with the so-called German greeting, which was the method of hailing a friend by raising the right arm straight out with the hand extended at, or slightly above, the level of the shoulder. This greeting had very definite political implications; it was employed daily by millions; and the directors and actors saw no reason why it should not be one on the films in a simple and life-like fashion. They failed. Even when shown in the rushes the effect on the select and professional audience was simply to produce uncontrollable hilarity. The cinema can do a great deal. It can entrance, t can tell fairy tales, it can be realistic or surrealistic -- but it cannot portray a gesture that is false without underlining the most brutal way its basic falseness. The German cinema could not reproduce the German greeting; it was the greeting that was to blame, not the cinema.
— Ernst von Salomon, Der Fragebogen
I leave this as a declaration of intent, so no one will be confused. One: "Si vis pacem, para bellum." Latin. Boot Camp Sergeant made us recite it like a prayer. "Si vis pacem, para bellum - If you want peace, prepare for war." Two: Frank Castle is dead. He died with his family. Three: in certain extreme situations, the law is inadequate. In order to shame its inadequacy, it is necessary to act outside the law. To pursue... natural justice. This is not vengeance. Revenge is not a valid motive, it's an emotional response. No, not vengeance. Punishment.
— Jonathan Hensleigh, The Punisher
On Friday evening Martin and Mona went to the United Artists Theatre to see a film already being mentioned for the Academy award. It had three stars, ran a hundred and ten minutes, and bored them both to petrifaction. (In brief, the award was in the bag.)The Case of the Seven of Calvary
— Anthony Boucher
For the first time in years Ashley found herself feeling truly alone. Despite being surrounded by people most of every day, she was unable to connect to them in a way she considered meaningful, and found herself passing through their lives - and her own - in a state of total isolation.
— Alex Ross Perry
If you can't explain it better leave it... (Dexter Season 2....)
— Deyth Banger
After all, nobody could get out from the dangerous place, something was going bad and I could be felt... (Hidden 2015)
— Deyth Banger
After all there isn't way out, there isn't security.(Film Hidden)
— Deyth Banger
It seemed so much safer and more comfortable to live in the lives of other people - to observe their joys and sorrows with detachment as if one were watching a film or a play.
— Barbara Pym, No Fond Return of Love
(The Purge)... We are not stupid...
— Deyth Banger
[Luchino] Visconti came from the Milanese branch of one of Europe’s oldest families, whose roots can be traced back to the early 13th century. He might have appeared as a character in one of his own films about the aristocracy, such as Senso or The Leopard – that’s the life he was born into. But at a certain point in the 1930s, his passion for theatre, opera and the cinema set him on a radically different path.(...)He has often been referred to as a great political artist, but that’s too limiting and frozen a description. His sense of European history was vast and he knew the lives of the rich and powerful first hand – but at a certain point he became drawn to understand the other side of life, that of the poor and powerless. He had a strong sense of the particular manner in which absolutely everyone, from the Sicilian fishermen in his neorealist classic La Terra Trema to the Venetian aristocrats in Senso, was affected by the grand movements of history.
— Martin Scorsese
Green Inferno was the truth, everything can be saw, how we were in the privous centuries, how did we survive and many other interesting stuff.So do you have the guts?
— Deyth Banger
The Witch film, was one suspensed and good made one, it could be well made with some more victims... But...
— Deyth Banger
Limitless is a powerful and incrediable movie. Everyone should check it out!
— Deyth Banger
Pet Sematary 1 is one crazy story and film.
— Deyth Banger
I don't know a lot of stuff. - First I know that there is Paradox! - Second it's like a faith! - And Third It can't be changed!(Paradox 2016 - Film)
— Deyth Banger
The Scarehouse is like Turkey Soap. The Girl House is better as a film!
— Deyth Banger
It's so sad that everything is put here in this film Bound to Vengeance.
— Deyth Banger
Somebody hearing me saying the film is stupid??Talking about "The Hospital 2"?... THey just said it, in the film! (In other words in the film there was scene saying "STUPIDDDDDDDDD
— Deyth Banger
During the early days of Franco's tenure with Harry Alan Towers (1967-1969) there was an occasion, oft remarked upon, when one film (The Girl From Rio) finished shooting a week early, and rather than send the crew home Towers and Franco hastily wrote a new script over the weekend (99 Women), and began shooting it on the Monday. In this case the arrangement was made with the full cooperation of the producer. But did the experience suggest to Franco a possible way of working in the future? After all, 99 Women, conceived in a rush and made without deliberation, went on to become one of Franco's biggest grossing films of all time, spending weeks in the upper reaches of the Variety chart.
— stephen throwers
Time never waits for your answers like do you want to continue or not. It continues so be clever, one moment you will wake up in 16, then 26, then 45, then 67 and your whole life it will went like two hours film!
— Deyth Banger
Mad Max the crazies ever made film. Such unique, incrediable, awesome and phenomenal film. You can't believe how is made!
— Deyth Banger
You think this man is the enemy? Huh? This is a worker! Any union keeps this man out ain't a union, it's a goddam club! They got you fightin' white against colored, native against foreign, hollow against hollow, when you know there ain't but two sides in this world — them that work and them that don't. You work, they don't. That's all you need to know about the enemy.
— - Joe Kenehan, Matewan (John Sayles, 1987)
Nobody dies in Vain (1408 - Film).
— Deyth Banger
How much you are close you see less!
— Deyth Banger, The Life Of One Kid
We are on location, this is not a vacation.
— Deyth Banger
I've tried to tell the truth. But I would say that, wouldn't I? In any case it has to be my truth. What other truth could I possibly know?
— Tony Garnett, The Day the Music Died: A Memoir
Cinema is a language. It can say things—big, abstract things. And I love that about it. I’m not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you’ve got time and sequences. You’ve got dialogue. You’ve got music. You’ve got sound effects. You have so many tools. And you can express a feeling and a thought that can’t be conveyed any other way. Its a magical medium. For me, it’s so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. Its not just words or music-it’s a whole range of elements coming together and making something that didn’t exist before. It’s telling stories. It’s devising a world, an experience, that people cannot have unless they see that film. When I catch an idea for a film, I fall in love with the way cinema can express it. I like a story that holds abstractions, and that’s what cinema can do.
— David Lynch, Catching the Big Fish: Meditation, Consciousness, and Creativity
Long after people forget what you said or did, they’ll remember how you made them feel.
— T. Rafael Cimino, A Battle of Angels
Vanessa insisted that film was exactly like poetry. Nothing necessarily had to happen
—  you just had to feel something.
If California is a state of mind, Hollywood is where you take its temperature. There is a peculiar sense in which this city existing mainly on film and tape is our national capital, alas, and not just the capital of California. It's the place where our children learn how and what to dream and where everything happens just before, or just after, it happens to us.
— Ross Macdonald, Archer in Hollywood: The Moving Target, The Way Some People Die, The Barbarous Coast
From one side what Steve Jobs has planted in his brain "That everyday is his last day..." - is a great idea and I can support it. But to think that everyday will be your last they won't be some kind a wanting to die soon or to be more close to say to fate "Come here, I want to die. Please take first my soul then the other people soul?". Sometimes by doing this and saying in my mind I feel like this I challange the fate. You can check out the film about Paul Averhoff - Check out what this guy has done he is runner, but look what happen in his life!
— Deyth Banger
Watching a movie for the first time is a flirt. Rewatching it, is a date.
— Guillermo del Toro
I’ve never seen an exploding helicopter. I’ve never seen anybody go and blow somebody’s head off. So why should I make films about them? But I have seen people destroy themselves in the smallest way, I’ve seen people withdraw, I’ve seen people hide behind political ideas, behind dope, behind the sexual revolution, behind fascism, behind hypocrisy, and I’ve myself done all these things. So I can understand them. What we are saying is so gentle. It’s gentleness. We have problems, terrible problems, but our problems are human problems.
— John Cassavetes
Three wishes, to be exact. And ixnay on the wishing for more wishes.
— Aladdin (1992)
I don’t need a medal to tell me I’m a good guy.
— Wreck it Ralph (2012)
All my life flashed before my eyes.… It was really boring.
— Chicken Run (2000)
To infinity…and beyond!
— Toy Story (1995)
In many ways, the work of a critic is easy.
— Ratatouille (2007)
The TV shouted an old black-and-white film he didn't recognize, wheelchairs facing it like church pews.
— Seré Prince Halverson, All the Winters After
Toni, you bring me luck. I'm gonna wear you like a charm.
— Robert Rossen
One gets the sense that, for Deleuze, the cinema of the movement-image has been fully realized while that of the time-image is emergent. Comparatively speaking, there are few "pure" examples of films where direct images of time predominate. Mixed or hybrid examples are more common.
— D. N. Rodowick
But he meant beauty in the sense of its organic connection to the material. And this is the connection that, for me, separates true stylists from decorators. The decorators are easy to recognize. That's why critics love them so.
— Sidney Lumet, Making Movies
Outside the cinema I had not yet learned to live, but within it I had most certainly learned to die. I could die for you in every way known to man, and in a few ways known only to scriptwriters. I could see now that provided that I remained fit, the future held many more deaths yet. I could only hope that they would serve some purpose, and that perhaps a reputation may come in the same way as a coral formation, which is made up of a deposit of countless tiny corpses.
— Christopher  Lee, Lord of Misrule
Didn't open the box? What was it last time? Didn't know what it was? And yet we do keep finding each other, don't we? - Cenobite
— Clive Barker
People see a Macbeth film. They imagine they have seen Macbeth, and don't want to see it again; so when your Mr. Hackett or somebody comes round to act the play, he finds the house empty. That is what has happened to dozens of good plays whose authors have allowed them to be filmed. It shall not happen to mine if I can help it.
— George Bernard Shaw, Authors on Film
Our film industry, must cease portraying us as a nation of decayed values, fallen moralities and juju-obsessed people.
— Sunday Adelaja
14 years ago I was born in the shadow of this mountain, given the name Mary Call. - Mary Call in Where the Lilies Bloom.
— Where the Lilies Bloom film adaptation.
It doesn't do any good to say, 'This is what it means.' When you are spoon fed a film, people instantly know what it is. I like films that leave room to dream.
— David Lynch
You should look straight at a film
—  that's the only way to see one. Film is not the art of scholars but of illiterates.
An actor is just a part of a movie, but director - he is the movie.
— Amit Kalantri
Piracy begins where creativity ends.
— Kalyan C. Kankanala
Adolescence is a marketing tool.
— Cameron Crowe, Almost Famous
A lot of film people are like that– especially the ones below the line, the blue-collar guys, the grunts. They like putting their hands on the equipment and getting it to do things for them. It's not about art or ideas. It's about working at something and making it come out right.
— Paul Auster, The Book of Illusions
[Cinema]… obeys the laws of the mind rather than those of the outer world.
— Hugo Munsterberg
For such an advanced civilization as ours to be without images that are adequate to it is as serious a defect as being without memory.
— Werner Herzog
The sad thing is that when movies like this fail, executives think that proves there's no audience for unusual, original pictures - because they think they've made one.
— Roger Ebert
I've never seen Star Wars or The Godfather, so that would be a good excuse for us to spend a bunch of time together.
— Lena Dunham
What is this film (Mirror) about?It is about a Man. No, not the particular man whose voice we hear from behind the screen, played by Innokentiy Smoktunovsky. It's a film about you, your father, your grandfather, about someone who will live after you and who is still "you". About a Man who lives on the earth, is a part of the earth and the earth is a part of him, about the fact that a man is answerable for his life both to the past and to the future. You have to watch this film simply, and listen to the music of Bach and the poems of Arseniy Tarkovsky; watch it as one watches the stars, or the sea, as one admires a landscape. There is no mathematical logic here, for it cannot explain what man is or what is the meaning of his life. (Sculpting in Time)
— andrey tarkovsky
The film libraries on some of these channels." Elmina said. "I swear. There was one on last night. I couldn't sleep. After I saw, it, I was afraid ro sleep. Have you seen Black Narcissus, 1947?"Eddie, who was enrolled in the graduate film program at SC, let out a scream of recognition. He's been working on his doctoral dissertation, "Deadpasn to Demoniac - Subtextual Uses of Eyeliner in the Cinema," and had just in fact arrived at moment in Black Narcissus where Kathleen Byron, as a demented nun, shows up in civilian gear, including eye makeup good for a year's worth of nighmares.
— Thomas Pynchon, Inherent Vice
We Live in a World Measured by Piracy because Piracy means Access.
— Kalyan C. Kankanala
Piracy of Bollywood; or Bollywood of Piracy, Tough to Say.
— Kalyan C. Kankanala
There is a Pirate in every one of us.
— Kalyan C. Kankanala
Filmmaking is akin to writing on water.
— Val Lewton
Or take this girl, for example. At a meeting just outside Paris, a fifteen-year-old girl came up to me and said that she'd been to see [The Double Life of] Véronique. She'd gone once, twice, three times and only wanted to say one thing really - that she realized that there is such a thing as a soul. She hadn't known before, but now she knew that the soul does exist. There's something very beautiful in that. It was worth making Véronique for that girl. It was worth working for a year, sacrificing all that money, energy, time, patience, torturing yourself, killing yourself, taking thousands of decisions, so that one young girl in Paris should realize that there is such a thing as a soul. It's worth it.
— Krzysztof Kieślowski, Kieslowski on Kieslowski
My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected onto a screen, come to life again like flowers in water.
— Robert Bresson, Notes on the Cinematographer
You have to want to make a film for other reasons - to say something, to tell a story, to show somebody's fate - but you can't want to make a film simply for the sake of it.
— Krzysztof Kieślowski, Kieslowski on Kieslowski
Hey, I got an idea, let’s go to the movies. I wanna go to the movies, I want to take you all to the movies. Let’s go and experience the art of the cinema. Let’s begin with the Scream Of Fear, and we are going to haunt us for the rest of our lives. And then let’s go see The Great Escape, and spend our summer jumping our bikes, just like Steve McQueen over barb wire. And then let’s catch The Seven Samurai for some reason on PBS, and we’ll feel like we speak Japanese because we can read the subtitles and hear the language at the same time. And then let’s lose sleep the night before we see 2001: A Space Odyssey because we have this idea that it’s going to change forever the way we look at films. And then let’s go see it four times in one year. And let’s see Woodstock three times in one year and let’s see Taxi Driver twice in one week. And let’s see Close Encounters of the Third Kind just so we can freeze there in mid-popcorn. And when the kids are old enough, let’s sit them together on the sofa and screen City Lights and Stage Coach and The Best Years of Our Lives and On The Waterfront and Midnight Cowboy and Five Easy Pieces and The Last Picture Show and Raging Bull and Schindler’s List… so that they can understand how the human condition can be captured by this amalgam of light and sound and literature we call the cinema.
— Tom Hanks
The most interesting of the classic movie genres to me are the indigenous ones: the Western, which was born on the Frontier, the Gangster Film, which originated in the East Coast cities, and the Musical, which was spawned by Broadway. They remind me of jazz: they allowed for endless, increasingly complex, sometimes perverse variations. When these variations were played by the masters, they reflected the changing times; they gave you fascinating insights into American culture and the American psyche.
— Martin Scorsese, A Personal Journey with Martin Scorsese Through American Movies
The lasting and ultimately most important reputation of a film is not based on reviews, but on what, if anything, people say about it over the years, and on how much affection for it they have.
— Stanley Kubrick, Stanley Kubrick: Interviews
I’m very worried about the depiction of women on the screen. It’s gotten worse than ever and it’s related to their being either high- or low-class concubines, and the only question is when or where they will go to bed, with whom, and how many. There’s nothing to do with the dreams of women, or of woman as the dream, nothing to do with the quirky part of her, the wonder of her.
— John Cassavetes
A director must be a policeman, a midwife, a psychoanalyst, a sycophant and a bastard.
— Billy Wilder, Billy Wilder in Hollywood
Far from being a pack of baying butchers,critics sometimes have a perverse habit of tending to the sick and wounded on the cinematic field of battle, rushing in where angels fear to tread, even when the patient is clearly without a pulse.
— Mark Kermode, Hatchet Job: Love Movies, Hate Critics
I don't think there's anything man wasn't meant to know. There are just some stupid things that people shouldn't do.
— David Cronenberg
Jaws 4 is so bad it makes Jaws 3 look like Jaws 2.
— Neil Perryman, Adventures With the Wife in Space: Living With Doctor Who
The collective sign of relief heaved on V-J Day ought to have inspired Hollywood to release a flood of "happily ever after" films. But some victors didn't feel too good about their spoils. They'd seen too much by then. Too much warfare, too much poverty, too much greed, all in the service of rapacious progress. A bundle of unfinished business lingered from the Depression — nagging questions about ingrained venality, mean human nature, and the way unchecked urban growth threw society dangerously out of whack. Writers and directors responded by delivering gritty, bitter dramas that slapped our romantic illusions in the face and put the boot to the throat of the smug bourgeoisie. Still, plenty of us took it — and liked it.
— Eddie Muller, Dark City: The Lost World of Film Noir
In all of its operations, cinema ceaselessly strives, and fails, to make present a world hopelessly beyond grasp. For this reason cinema is, in its very nature, a nihilistic medium.
— John Marmysz
Kenji Mizoguchi is to the cinema what Bach is to music, Cervantes is to literature, Shakespeare is to theatre, Titian is to painting: the very greatest.
— Jean Douchet
How may a mortal, face and defeat the Kraken
— Beverley Cross, Clash Of The Titans: The Official Illustrated Adaptation Of The Epic Film Of The Yearp
But I reckon that this realm of higher needs, of something more than just forgetting about everyday life, of mere recreation, this realm of needs has been clearly neglected by us.
— Krzysztof Kieślowski, Kieslowski on Kieslowski
The longing for improvement and the fear of waste and worse - it is a pattern still with us, and maybe it speaks to the medium's essential marriage of light and dark, or as Mary Pickford put it in her autobiography (published in 1955), Sunshine and Shadow. Light and dark were the elements of film, and they had their chemistry in film's emulsion. They had a moral meaning, too. But not everyone appreciated that prospect, or credited how it might make your fortune.
— David Thomson, The Big Screen: The Story of the Movies--and What They Have Done to Us
The only real failure is the failure to try, and the measure of success is how we cope with disappointment.
— Deborah Moggach, The Best Exotic Marigold Hotel
Three films a day, three books a week and records of great music would be enough to make me happy to the day I die.
— François Truffaut
The mole is an animal that digs passages searching for the sun. Sometimes he reaches the surface. When he looks at the sun he goes blind.
— Alejandro Jodorowsky
In drama, the characters should determine the story. In melodrama, the story determines the characters.
— Sidney Lumet, Making Movies
Just watch any husband arguing with his wife about something insignificant; listen to what they say and watch how their residual emotions manifest when the fight is over. It’s so formulaic and unsurprising that you wouldn’t dare re-create it in a movie. All the critics would mock it. They’d all say the screenwriter was a hack who didn’t even try. This is why movies have less value than we like to pretend — movies can’t show reality, because honest depictions of reality offend intelligent people.
— Chuck Klosterman, The Visible Man
In this business, until you're known as a monster, you're not a star
— Bette Davis
I'm lucky enough to be able to make films and so I don't need a psychiatrist. I can sort out my fears and all those things with my work. That's an enormous privilege. That's the privilege of all artists, to be able to sort out their unhappiness and their neuroses in order to create something.
— Michael Haneke
Yet in recent years I have witnessed a new phenomenon among filmgoers, especially those considered intelligent and perceptive. I have a name for this phenomenon: the Instant White-out. People are closeted in cozy darkness; they turn off their mobile phones and willingly give themselves, for ninety minutes or two hours, to a new film that got a fourstar rating in the newspaper. They follow the pictures and the plot, understand what is spoken either in the original tongue or via dubbing or subtitles, enjoy lush locations and clever scenes, and even if they find the story superficial or preposterous, it is not enough to pry them from their seats and make them leave the theatre in the middle of the show.But something strange happens. After a short while, a week or two, sometimes even less, the film is whitened out, erased, as if it never happened. They can’t remember its name, or who the actors were, or the plot. The movie fades into the darkness of the movie house, and what remains is at most a ticket stub left accidentally in one’s pocket.
— A.B. Yehoshua, The Retrospective
Good film, television, or music keeps you awake, anxious for the next movement or act, and wanting more when it is finished.
— John Grooters
OK, publishing a book and releasing a movie is all very well, but Tottenham beating Man. U. 3-2... priceless.
— Salman Rushdie
And we hate this possibility in movies; we hate this "both" shit. "Both" comes off as sloppy characterization, muddy filmmaking, lack of focus. ... But I submit that the real reason we criticized and disliked Lynch's Laura's muddy bothness is that it required of us an empathetic confrontation with the exact same muddy bothness in ourselves and our intimates that makes the real world of moral selves so tense and uncomfortable, a bothness we go to the movies to get a couple hours' fucking relief from.
— David Foster Wallace, A Supposedly Fun Thing I'll Never Do Again:  Essays and Arguments
A film which followed the code of the Hays Office to the strictest letter might succeed in being a great work of art, but not in a world in which a Hays Office exists.
— Theodor W. Adorno, Minima Moralia: Reflections from a Damaged Life
The varying physical characteristics of the actors may also necessitate changes. Sean Connery is six feet four. Dustin Hoffman isn't.
— Sidney Lumet, Making Movies
Her first really great role, the one that cemented the “Jean Arthur character,” was as the wisecracking big-city reporter who eventually melts for country rube Gary Cooper in Frank Capra’s Mr. Deeds Goes to Town (1936). It was the first of three terrific films for Capra: Jean played the down-to-earth daughter of an annoyingly wacky family in Capra’s rendition of Kaufman and Hart’s You Can’t Take It With You (1938), and she was another hard-boiled city gal won over by a starry-eyed yokel in Mr. Smith Goes to Washington (1939). “Jean Arthur is my favorite actress,” said Capra, who had successfully worked with Stanwyck, Colbert and Hepburn. “. . . push that neurotic girl . . . in front of the camera . . . and that whining mop would magically blossom into a warm, lovely, poised and confident actress.” Capra obviously recognized that Jean was often frustrated in her career choice.
— Eve Golden, Bride of Golden Images
Painting, by its nature, cannot provide an object of simultaneous collective reception... as film is able to do today... And while efforts have been made to present paintings to the masses in galleries and salons, this mode of reception gives the masses no means of organizing and regulating their response. Thus, the same public which reacts progressively to a slapstick comedy inevitably displays a backward attitude toward Surrealism.
— Walter Benjamin, The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media
Today’s youngsters will unfortunately never know the thrills we experienced dubbing movies in the era of Rashomon.
— Teruyo Nogami, Waiting on the Weather: Making Movies with Akira Kurosawa
You see, the interesting thing about books, as opposed, say, to films, is that it's always just one person encountering the book, it's not an audience, it's one to one.
— Paul Auster