Film Emotion Quotes

I'm a huge fan of Richard Curtis - there's real grief, real compassion in his films as well as cheekiness; it's a wonderful cocktail.

I think lighting is a reflection of what is at stake emotionally in a movie.

When it comes down to it, I'm still in love with film - I'm a cinephile.

I think I land somewhere between Scorsese and Capra in what I'm drawn to emotionally; I'm drawn to very intense emotion. Capra freaked people out when they saw Jimmy Stewart lose it in 'It's a Wonderful Life.'

[David Lean's] images stay with me forever. But what makes them memorable isn't necessarily their beauty. That's just good photography. It's the emotion behind those images that's meant the most to me over the years. It's the way David Lean can put feeling on film. The way he shows a whole landscape of the spirit. For me, that's the real geography of David Lean country. And that's why, in a David Lean movie, there's no such thing as an empty landscape.

Film as dream, film as music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames a second, darkness in between, the optic nerve incapable of registering darkness.

I would say that the emotional content of the film [Swiss Army Man] took me by surprise, and sometimes I would probably want to capture the unique tone of it.

I think it's possible to make a blockbuster that is actually emotional. They don't need to be mutually exclusive.

Where film is infinitely superior to any other medium is emotion and story and character.

I got the script for 'Real Steel.' I started reading and saw that it was about robot boxing, and I was immediately turned off. It's not my thing. But I continued on, and by the time I got to the end of the script, I had chicken skin and tears in my eyes. I thought, 'Man, we don't make movies like this anymore.'

If you watch a film without music, there's nothing that you can connect with.

Why are we scared of a '50s weepie? Why are we scared of a movie that pulls you in and punches you in the stomach?

Emotionally, light very much influences, I feel, the audience. It's not something that most audience members are conscious of, which is a good thing, because it means as filmmakers, we have the opportunity to gently control an audience into feeling a certain way.

People react to 'Drive' in a way that is very primal.

We make the kind of movies we like to watch. I love to laugh. I love to be amazed by how beautiful it is. But I also love to be moved to tears. There's lots of heart in our films.

I love films that make me react emotionally and physically when you walk out of the cinema. Two of my favorite films however have got to be 'The Tree Of Life' and 'The Piano Teacher,' which also stars one of my favourite actresses Isabelle Huppert.

Brad Bird is fond of saying that music is the easiest thing that can derail a film because if it slightly goes a degree off track it will take the viewer in the wrong emotional direction. To work with people who actually care about that is a good thing.

With silent films, you're better off avoiding irony, because the spectator is your accomplice. It's this pact that leads to emotion being created.

I remember when I saw 'King's Speech' or 'Girl With the Pearl Earring;' there are moments in my life where I was blown away and thought, 'Wow, that's why I chose to be a film composer.' These films are so beautiful and so strong, and the music can be very much part of the emotion.

I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between.

I think that in some cases, I've made films that have a sentimental quality, at least as part of the film.

With every one of our films, we try to touch emotions, but we don't try to touch the same emotions each time.

The fact that I do place music at the end of my films is not to accentuate the emotion. It serves an opposite purpose which is to remove them from the emotional space and allow them to enter a space of thinking, because I believe that when the audience is watching the film they're watching it with their feelings.

The way 'Coming Home' uses music in general is incredible, but the final song that really kind of crescendos all of the emotion that the whole movie has kind of been building to is this song called 'Once I Was' by Tim Buckley.

We had forgotten the art of using silence to convey emotions in our films and that's what you seem to have mastered. You've used silence to great advantage in the film. It's brilliant.