Film Evaluation Quotes

Sometimes you look at a movie and you can see that the actor or actress said, 'I'm taking this onboard because I'm making a ton of money, and not because it's going to be something special.'

The viewers have the brains to decide the merits of a film and there is no point in blaming them if it flops.

If we must have the Production Code, then I think the only way to use it effectively is to judge a film as a whole and determine whether its effect is good or bad.

I believe if you come out of a movie and the first thing you say is, 'The cinematography was beautiful,' it's a bad movie.

No good movie is too long and no bad movie is short enough.

The Loved One has been the most underrated film I've worked on.

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.

A good film is a good film.

If I depended on the critics' judgment and recognition, I'd never have gone into the motion-picture business.

I don't really say much about reviewers. It's a very tough job to get all of the depth of a movie all at once.

It's better to do a film that works.

There are very few horror films that I think are worth their salt.

If people are reacting to films based on their degree of success or failure, then they're not really looking at the movie. I don't really care about that. Everyone's entitled to an opinion, but at least base your opinion on the merit of the work itself.

Mad Dog Time is the first movie I have seen that does not improve on the sight of a blank screen viewed for the same length of time. Oh, I've seen bad movies before. But they usually made me care about how bad they were. Watching Mad Dog Time is like waiting for the bus in a city where you're not sure they have a bus line.

I haven't read a review of one of my films for the best part of 10 years.

There are only two types of cinema - good or bad.

Any film, whether it worked at the box office or not, I'll have my favourite moments from it.

It is true that no matter how good your film is, you get judged purely on the basis of how well it does at the box office.

In LA I was watching At the Movies with Ebert and Roper, it was, nice to see them differentiate between the subject matter and the art form of making the film, and they both gave it thumbs up, and I was kind of pleased at their honesty as far as reviewers go.

When a film is reviled, you open a film and people say "Oh, it's the stupidest thing, it's the worst movie." You think: oh, nobody's going to ever speak to you again. But, it doesn't happen. Nobody cares. You know, they read it and they say "Oh, they hated your film." You care, at the time. But they don't. Nobody else cares.

When the movie starts playing on TV and DVD, that's when you really see what the movie is.

In the movies first impressions are everything. Or, to put it less drastically, in the movies there are no later impressions without a first impression, because you will have stopped watching. Sometimes a critic persuades you to give an unpromising-looking movie a chance, but the movie had better convey the impression pretty quickly that the critic might be right.

In 'Dear Father,' you will see some remarkable work in terms of the screenplay.

You look back on films sometimes and if they have not been as all-out successful as you anticipated you try to find reasons why maybe it didn't come off for audiences as well as you would have liked.

To me, what separates a funny movie from a good movie is something personal.