Short Films Quotes

I've never done a movie in that genre, and I love a lot of those movies. I watched the director's [David Freyne] short film [The First Wave], which I loved. And the script was just so good. He's found this way to tell a new story.

I was writing short films and I was going through this really, really, really terrible end of a relationship that I didn't want to be going through. It was too much for me to process and all of a sudden I had this idea for my first feature film and I knew right away I had to start writing it.

I love doing short films because they're much more intimate and there's far less waiting around than on the bigger films.

But short films are not inferior, just different. I think the short gives a freedom to film-makers. What's appealing is that you don't have as much responsibility for storytelling and plot. They can be more like a portrait, or a poem.

I did short film with Damian Lewis from Homeland, that was a really incredible experience. He's one of the best actors I've ever worked with. Even though that's a short film for Jaguar that's really, in essence, a commercial, it didn't feel like it, at all.

I find that as long as I'm acting it doesn't matter if it's for TV, or a series or a short film. I always have fun no matter what I'm doing.

And we had the perhaps unfair advantage of not having to worry about what an audience was gonna think. We were in a vacuum. We were making little short films, really.

Short films don't go too far.

There's such a sense of theatre in getting glammed up; it's like putting on a play or short film.

When I went to film school about three years ago, the first two years you're required to make a series of short films. I started making films based on short poems.

I've done a lot of independent film, which are short shoots that are usually four to six weeks, max. I enjoy everything. After one particular experience of work, I like to go in the opposite direction and do a short film, or something else.

A kid now can practically record a song or edit a short film on his way to school. I think that will produce, perhaps, more less-interesting things - or you'll have to search more to find the interesting things. But I also think it's exciting.

Film maker Andi Olsen has a wonderful short film called Where the Smiling Ends. She waited at the Trevi Fountain in Rome and filmed the tourists only at the moment after their photos had been snapped, the moment their smiles dissolved. It's genius and heartbreaking. I think about her film when I explore the places the strips malls meet the wild world they are eating up.

I used to spend $25,000 of my own money on my short films, and I wouldn't make that back, not even close. So I think the Vimeo thing, because it's pay to download, that helps

You can write when you're dyslexic, you just can't read it. But I started writing short stories as a child and I found the short story format a real nice one. I love short stories and I love short documentaries or short films of any kind.

My tutor was a film director on the side, and she introduced me to film. She then put me in one of her short films, and it came out of that. That's when I fell in love with the process of making a film. After that, I was about 15 and I was like, "This is what I've gotta do." So, I started taking acting lessons, and then I applied to college to do acting. I got an agent, and it all just happened.

I think I've found my passion in life. I'm going to direct a couple of short film on hiatus. That's what I really want to do.

I think it's a mistake for young filmmakers to just buy digital equipment and shoot a feature. Make short films first, make your mistakes and learn from them.

I'd already started directing short films when we were doing 'Lord of the Rings,' then videogame projects. So Peter's known that I've been heading towards directing for a long time. But I always thought my first outing would be a couple of people and a digital camera in the back streets of London somewhere!

Well I'm Superman, just not action. I'm kind of looking for something with a lot less action and more talking and listening. I also have a film that's premiering Vegas Film Festival, short film, directed by Joel Kelly, it's called Denial and it's a story, short film, 35 mm short film and it's about a man's struggle to choose between the woman of his dreams and his reality, so it's definitely different than Superman. So I'm really proud of that.

Body Electric... It is the first song from my new short film called #‎ Tropico that is coming out in the end of the month.

Film has always been a really good tool for me to communicate emotion about why I create a collection. I'm probably one of the first designers to make short films.

I think the power of the short film is incredibly underrated. It is way easier to get someone to watch a 15-minute film then a full-length feature. In those 15 minutes you have the opportunity to express your voice as an artist and hopefully connect with your audience. If you are trying to be a first time feature director then a short film that demonstrates you have a grasp on the themes and concepts of the movie you want to direct is a no-brainer. Whether they are collaborators or potential investors, filmmaking is a visual art form so you obviously need visuals to show them!

I someday hope to find the time and coin to invest more of my creative energy towards the visual media side of releasing music. I'd love to make short film videos pushing the conventional standards of what a country music video can be.

My first job was an AFI short film, Chasing Daylight, when I was 11, and I made a couple of commercials that never aired.

I want to release another CD this year, finish writing a screenplay, and make another short film

It was a subject [ volcanoes] that was dormant in me for a long time and it popped up 40 years ago when I made a [short] film on the Caribbean island of Guadeloupe about a volcano that was about to explode and a single farmer refused to leave ["La Soufrière"].

A short film is just another storytelling medium like TV, Features, and Webisodes. I am just thrilled that Silent Cargo is getting out there for people to see.

I remember when I was like 19 years old and I started a desk calendar company to pay for my first short film, just so I could say one day that my daddy didn't pay for my first short film. And I really established myself in the film festival world.

After college I funded my short films with acting roles in film and TV. I learned my craft through the great opportunities British television gave me as a director.

Just the idea that someone is married and they've got a kid, and he reports for work one morning and his boss says, "You're wife is a spy. Shoot her." In the real story, he just went back and did it, which would have been a short film. Therefore, I had to spend some time exploring what you would do.

Creating things. I love the idea of creation and creativity. Whether it's a character, a short film, a piece of music, a painting, or a bookcase - to watch something go from an idea to a creation is pretty much where it's at for me.

I did a dance sequence in my second short film, which was my best short film, called 'Hairway to the Stars,' and I think Chris Wink, the founder of Blue Man Group, was in that. It's a black-and-white dance sequence. We were Glorious Food waiters together.

What made me want to be an actor? Ah, I'm not really sure, to be honest. I was one of those little kids who did it around school, and then I got to university and made lots of bad plays and short films, and then midway through that, it suddenly dawned on me that this might be a satisfying way to earn a living, if that was at all feasible.

I had various jobs, I taught a SAT class, I was a bartender, I had a day job at an office and was making short films. I got grants from NYSCA and NEA for an idea, which later became 'Huckabees,' about a guy in a Chinese restaurant who had microphones on every table and heard every personal conversation and would write perversely personal fortunes.

I was frustrated because I couldn't get going, as I was trying to figure out how to make films. I had various jobs, I taught a SAT class, I was a bartender, I had a day job at an office and was making short films.

I was a bartender in New York and I overheard this girl saying she made $3000 doing a commercial. A kid at work told me, 'Hey, I know this director and he'd really like you!'. So I walked into this guy's office and was like 'I was thinking maybe I could make $3000' and he hired me for commercials, short films, like 15 jobs in a row.

I graduated from high school with the art award and I had made a ton of short films, but it was before DVDs with director commentary.

I always try to approach things from the point of authenticity. I've done that for my short films, working with non-actors from the real environments where you go exploring and placing them into the cast alongside professional actors.

My roommate in college in Austin, Texas, was Wes Anderson. Wes always wanted to be a director. I was an English major in college, and he got us to work on a screenplay together. And then, in working on the screenplay, he wanted my brother, Luke, and me to act in this thing. We did a short film that was kind of a first act of what became Bottle Rocket.

I always think it's just best to just make stuff and to carry on making stuff, even if it's not off your own back, because that's the only way... especially as a comedy writer, I make short films and then show them to live audience, so if they're laughing you know you're doing something right.

Most people assume because I'm an actor that's all I know about and care about, I'm actually a camera geek and a film geek. I grew up making short films the same time I was acting. For me, it's a motion picture, not a play. I'm just as interested in what the camera department is doing and world building through costume design and production design as I am in acting. I think all good directors do that whether they're an actor or not.

With the Ford Foundation grant all of a sudden instead of being an artist that had made a couple of short films, I became a filmmaker who dabbled in the arts.

I had a really small role (playing goddess Aphrodite), and I was only working for just over a week with Ralph Fiennes and Liam Neeson. I'd done a few short films before and thought acting was really creative, but when I worked with those guys, I was just like: "Wow!" They had such fun and freedom. They were trying things and stretching themselves. It was so inspiring that I was like: "I definitely want to do this!"

Short film: you can be poetic and you don't have to answer anything. You can make whatever you want. You have creative freedom with short film.

A gem of a short film has a sense of pure joy in animation that is different from anything you see in a feature film.

Room 10 [a short film she codirected with Andrea Buchanan] nailed my personal theme: love and choosing to stay in the room when the going gets tough.

My aunt put my cousins into a childrens modelling agency, then my mum did it with us. Me and my sister got a few TV adverts, which was good pocket money. A director saw photos of me and asked me to do a short film.

I guess short films have a bright future... The advantage is budget.

As a performer, you can't just sit around waiting for the phone to ring. You have to write and develop projects for yourself, because casting people aren't always going to see you the way you want to be seen. Write a one-person show, shoot a short film, do plays, whatever - activity breeds activity. No one's interested in a stay-at-home actress.