Film Tone Quotes

When Kubrick decided to go the black comedy route with his movie, he thought of me to give it that flavor.

Of course I know what works for me and what kind of tone I want my films to have.

Humor is very interesting to me. My films are not comedies, but there's comedy in them from time to time, absurdities, just like in real life.

I think I would say 'The King's Speech' is surprisingly funny, in fact the audiences in London, Toronto, LA, New York commented there's more laughter in this film than in most comedies, while it is also a moving tear-jerker with an uplifting ending.

Actually, I was rock climbing on this film at 7 in the morning. It was quite unique! But in any event, the colour of the leaves disturbed me so we had to work on that. On the other hand, I didn't want to drench it in a kind of depressing tone.

The tone is so important to a film, and that tone can really make something fall or succeed.

A lot of times the character's experience is not in accordance with the tone of the movie and it's not really my job to account for the tone of the movie. That's the director's job.

Those are the movies that we [with Evan Goldberg] always wanted to make. Pulp Fiction, Reservoir Dogs, the kind of movies where violence and comedy and characters kind of work together really well.

I developed a theory that, in many ways, the early 'Andy Griffith' episodes especially were an awful lot like a Capra movie. They were a lot like 'Mr. Deeds' or a lot like 'It's a Wonderful Life' in tone and presentation.

Because I was familiar with Taika's Watiti work and there's a very subversive, funny streak amongst all of them. I don't think he turned [Hunt for the Wilderpeople] into a sort of drama, there's too much dark material underneath it for it to be a comedy; it wasn't designed to be a comedy. I think it's a comedy... I think it's a drama that's funny; which is different.

The thing I do miss about the way some sequels were in the past was that each film felt like its own unique, complete tone. Now, sequels are tonal facsimiles of the ones before them, like a television series, whereas back in the past sequels would often be radically different from the ones before.

I'm as flighty as anybody. You put a lot out there. I've been through the process a lot. When I play a major role, it's my instinct to create a nice atmosphere. People in the major roles dominate the tone of an entire film. To my mind, it's much easier to work creatively when everyone's friendly.

'Guardians of the Galaxy' is tongue-in-cheek and has a sense of humor about itself. But it's nothing like 'Deadpool.' 'Deadpool' is this super-bizarre thing. The best thing about it is that it's R-rated.

The actors are the greatest executors of tone in a film. They're the most important cinematic component.

I don't want to make pompous, serious films; I like films that have a kind of vivacity about them.

To me, one of the main things that a director does is create the tone of his movie.

I think every movie is its own little world, and a director certainly sets the tone.

(Guy) Pearce, as the hero, makes the mistake of trying to give a good and realistic performance. (Jeremy) Irons at least knows what kind of movie he's in, and hams it up accordingly.

Actually I did, because I saw the film like everyone else, ten years ago and I remembered some of it. I just wanted to see it, to kind of remember the tone a little bit.

After the song [for sausage Party] was finally done, we didn't have enough time, but we thought it would be fun. It also would've thrown it off a bit, because we really are doing more of an homage to Pixar, and if we filled it with songs, it would've felt more like Disney. And we had an experience, while we were making it, that going too Disney made it too weird.

The emphasis in 'Notting Hill' was perhaps, I thought, slightly more on the romance than on the comedy. But I think 'Mickey Blue Eyes' is maybe slightly more on the comedy. And the tone on 'Mickey Blue Eyes,' it's a far sillier film.

'Veerey Ki Wedding' is a comedy of errors in more ways than one. It's one of those basic, perky comedies. We're not trying to give out a message or anything.

In the past, the movies I've made are perceived as dark, but a lot of comedies are way darker.

You can make a movie that's more focused on the jokes, but Young Adult was not that kind of movie.

In Tim's films, more than most, if you miss the tone, you don't get the film.