Film Accuracy Quotes

I remember, when I was writing 'Traffic,' talking to top federal drug-enforcement officials and having them say they read it and found it very good and believable, except the scene where the girl describes her resume.

In general, when moviemakers talk to scientists, they usually see them as a resource to solve particular technical problems or script problems for them. So, something like: what sort of weaponry would aliens be able to wield?

I never wore a single fedora filming 'L.A. Noire.' It took about an hour and a half to do the hair - it was a very precise process.

It often strikes me that the actors in high school movies look too old.

In 'Crazy Rich Asians,' Singapore will be seen as it should be seen, without CGI, without the altering of the images to be more Chinese - a representation of Singapore as we know it and love it.

And there's also not enough films that are more of a imitation of what real life looks like.

I am a really big Harry Potter fan and I've seen all the sets, I've lived Harry Potter and I don't think it's destroyed the books at all, I think it's really spot on.

I think George just nailed the whole thing, the whole time period, the whole look and feel of what that newsroom was like. I did a lot of research for the role and believe me, it's all pretty genuine, down to the very last cigarette butt.

If a film is a real knockout like 'Raging Bull,' it does not matter that it might not have happened like that.

I think Sin City is a good example. Nobody would accuse Sin City of being historically inaccurate because it takes place in modern times.

I was afraid that science-fiction buffs and everybody would say things like, 'You know, there's no sound in outer space.'

All movies, when they're about the music business, tend to have a bit of a wide latitude in terms of how things really were.

The skyline in Alfred Hitchcock's 'Rope' is made up: no, you don't get the Waldorf and the Chrysler and the Empire State buildings and a dozen other magnificent structures in one window.

I always think British films work best when they're very honest to a particular part of England. 'Four Weddings and a Funeral' was true to middle-class people, 'Bend it Like Beckham' was faithful to the Indian community, and 'Billy Elliot' was faithful to the miners.

The prosthetics were interesting because the artist was so good that they could just put a Hitchcock mask on me, but you don't want to do that. You're an actor playing Hitchcock, so it's about how much of that you're going to do.

The film 'Slumdog Millionaire' portrays the spirit you feel in India. For those who haven't been there, the film says it all.

I'm on a crusade to get movie directors to get their science right because, more often than they believe, the science is more extraordinary than anything they can invent.

I hate it when you see in films people with their anoraks flapping open in a blizzard. They'd be dead in a couple of minutes. It's got to be real. It's got to work.

Whatever film it is, the geography has to be right. If I cannot establish it, I'll get lost. I wouldn't even understand it in the first place! I hence visit a place and decide what can be conveyed from where; how that can be incorporated in the story.

I mean every character you totally, you know, the full fiber of the personality is kept in the film, and all of those little moments, all those funny little tidbits are all in there.

When you make a movie, a dramatization based on the real experience of a living subject, you can't airbrush that away into to a perfect movie arc.

The last I checked, 'Titanic' worldwide has grossed $1.3 billion. Imagine how much more it would have grossed if I had gotten the sky correct.

I think it's particularly stupid that filmmakers have traditionally said, 'Yeah, I like baseball, but the movie's not going to be about the intricacies of the game.' I mean, you wouldn't cast an overweight guy with stubble if you were doing a ballet film.