Top 44 Film Business Quotes

I am a teetotaler but I have to say that the film business is intoxicating.

Although I’m aware of how under-represented we are, I sometimes forget how desperately Arabs who aren’t in the film business wish for better stories about us.

I resisted the film business as long as I could, because of the big circus act and the amount of money that it costs to make films – I saw my father suffer through that.

The film business talks a lot. People talk a lot. There’s a lot of chatting. There’s a lot of behind-the-scenes chatting. There’s a lot of talking before you go and do it.

I did not grow up a cinefile. No one in my family was in the film business or even anything close to it.

Video piracy is among the most irritating aspects of modern life for those who work in the film business. Adverts telling you not to commit video piracy are among the most irritating aspects of modern life for those who don’t.

My grandfather D. Ramanaidu has been in the film business for over 50 years, so I grew up in films.

I’ve worked in the film business for 45 years, and I want to keep on growing as a filmmaker. I want to see my visual life grow and be increasingly effective in this world.

Things have a tendency in the film business to fall apart more often than they come together.

Acting just happens to be my skill, but I think I would probably be just as happy being a technician or entering into the film business in some other way.

But my sense in talking to people when I travel is that the film business is not that dissimilar from a lot of other businesses.

I have watched people who have nothing to do with the film business, but who have become part of the circle for a short period of time. They can be truly devastated when the film wraps and people leave.

I like to think I’m making films in the film business where movies are making enough numbers for the studios to let me keep working, but you also want those films to have content that makes you proud you made the film. That’s not easy, but it’s a fun puzzle to figure out.

Most of the people I know in the film business here in New York, the moms and the dads, just take different turns working. So everybody’s a working parent, and nobody bats an eyelash at it.

In our film business, they say it’s recession-proof, but there’s no such thing. I think what it’s done is there’s been an increase in demand for high-quality product. If you understand the business side of it, there’s a way to balance it.

In my real life I live in the countryside, I walk a lot, I shoot clay pigeons, I don’t get involved in the film business or anything, and then in my cinematic life, I think I am drawn to the dark side.

The film business, for me, has been great, but the music business, we’ve always been on the outside looking in.

I’m a night person, but because of being in the film business and having children, my schedule has shifted, and I’m always terrified that I’m going to oversleep.

The blessing that this film business has given me is that when I walk into a school I automatically have everyone’s attention. They want to hear what the guy from ‘Con Air’ and ‘Desperado’ has to say.

As a woman, absolutely, I have had to deal with people making advances at me, but not just people from the business of film industry but people across different professions and different strata. I think it has a lot to do with power; it is not only limited to the film business.

Four or five years ago I decided to stop cursing the darkness – I had been complaining about movies and their content for years – and instead to do something about it by getting into the film business.

My first job in the film business was working as a production assistant, and then a production manager on a documentary about Townes Van Zandt.

There were six kids in our family, and I grew up fast. I had to do a lot of things on my own. I was a rebellious teenager. That’s why coming into the film business was good for me because it gave me some discipline. Once I became an actor, I had to grow up a little more.

At that time, the people that were in the animated film business were mostly guys who were unsuccessful newspaper cartoonists. In other words, their ability to draw living things was practically nil.

All of us have read the stories about young people in Hollywood and all the challenges they have to confront there, and I think that artistically, I really didn’t understand the commercial side of the film business, so I went back to a purely artistic setting.

You know, I think the film business is its own worst enemy because it sells movies on DVD footage and ‘behind the scenes,’ and now it’s a real struggle trying to keep storylines and plotlines a secret.

I don’t want to be in the film business. I’m not even sure it’s a business.

We made ‘Pieces’ in Cleveland with zero connections to the film business. Absolutely zero.

Hollywood today is all about being consistent. All thinking in mainstream film business takes place in one box.

In any film business, if you’re trying to get your next film made, you would never say, ‘Oh, my last film was a cult film.’ I’d say, ‘Oh, great, well I hope this one isn’t!’ I always say to Johnny Knoxville, ‘How do you do it? You sort of do the same thing we did, except you made millions, and I made hundreds.’

I’ve always believed that as actors, one of the biggest advantages of being in the film business – not just of being actors, but being in this industry – is the fact that you get to travel so much, and you get to see places that you probably would not if you went just as a tourist.

The film business seems to attract rules more than any other business. I don’t know why it does. I think it’s because there’s so much money at stake.

My reason for getting into the film business was a Spider-Man comic called ‘The Night Gwen Stacy Died’ when I was a kid; it changed my life.

In the film business, when you’re young, you just want to work. But when you’re older, it has more to do with who’s involved with the project – who you’re going to get in the boat with.

I’ve wanted to be Mick Jagger since I was 18. One of the things I love about music is that you don’t have to be dependent on other people like you are in the film business. I hate being dependent on anyone. With my music, I can do whatever I want. I also think it’s made me more relaxed as an actress.

The film business was a great lesson in business combat and what it takes to survive.

The fact is that you could not be, and still cannot be, a 25-year-old homosexual trying to make it in the British film business or the American film business or even the Italian film business. It just doesn’t work and you’re going to hit a brick wall at some point.

My education as a filmmaker has been entirely practical. I started working professionally in the film business in 1970, and I’ve been at it steadily since, and I pay a lot of attention.

The thing that helped me get into the film business was that I went to school in Athens, Georgia and managed to get on, um, working on music videos for a band called R.E.M. and that kind of opened up a lot of doors for me.

The literary aspect of the film business excites me, but show business in general doesn’t take any mental giant.

My favorite part of the film business is the research part, with the access we get from people who are excited to be involved and the things we get to see and do, which we’re not normally going to get in everyday life.

I’ve done very well in the film business. Whenever I have wanted something, the film business has given it to me. I’m very fortunate. My big problem in life has always been, ‘What do I want?’

In film business or any business, for that matter, there are people with different mindsets. Some would be compassionate and respectful, some might just be the womaniser, but how can we generalise that? That is wrong, I guess… That way, in a male-dominating society, shining is tough for women.

I genuinely believe that if you want to get in the film business, get in the film business.