Movie Themes Quotes

You never write a theme for a movie thinking, 'This will live forever.'

Mr. Clooney has directed six movies; five are set in the middle of the previous century. And 'Suburbicon' clarifies why. Race is a blind spot.

Class is often invisible in America in the movies, and usually not the subject of the film.

After making several tragic movies in a row, I was looking to do a comedy, and one without cynicism.

I think drug movies free the director to make intense films.

What I've appreciated about the 'Bond' films is there's always been a subtle social relevance to them. They've always commented on the times.

A lot of movies are about life, mine are like a slice of cake.

I've always thought that, in a sense, the more specific and sometimes even the smaller the world of a movie is, the more universal it is.

I don't require movies to be about good people, and I don't reject screen violence.

The director Sofia Coppola's new comic melodrama, 'Lost in Translation,' thoroughly and touchingly connects the dots between three standards of yearning in movies: David Lean's 'Brief Encounter,' Richard Linklater's 'Before Sunrise' and Wong Kar-wai's 'In the Mood for Love.'

In terms of 'Solaris,' I didn't really think about the religious aspect an awful lot. There's one scene at a dinner party, and it's discussed, but it wasn't an overwhelming theme for me.

American movies and music deliver themes of freedom, innocence, and power that appeal to others - partly because America itself was put together out of a multiplicity of national traditions.

The theme of old age doesn't seem to fascinate Hollywood.

I can't make a movie unless I believe in the themes behind it. I mean, that's the first question I ask myself, always, is, 'What is this movie about?'

The future is always a dystopia in movies.

My tendency in life is to like movies that deal with heavy stuff, but it's my nature.

I have joy. Canadians have the reputation of making dark movies because we are in this society where we have the space to explore darkness. That's the way I see it.

I think that being Jewish has generated an extremely strong sense of the importance of family. If I look at my Scandinavian colleagues, they don't have that urgency about family. All my movies are about that.

Our music over the years has been very cinematic. It's surprising we never really got into film soundtracks.

Its just I fell into a bunch of movies that kind of fit in my life. It made sense to do them in the 80s. Folks who know me think its hilarious.

Sam Peckinpah's movies probably say more about him than anybody's body of work says about that person. There are running themes in his films that I find eminently fascinating, disturbing, exhausting, and exhilarating.

The first record I bought was the 'Edward Scissorhands' soundtrack. I remember being really obsessed with the movie, and all the campiness sort of went over my head because I was so little - it's the same with 'Hairspray.' But I would listen to that soundtrack a lot.

All my movies, as I get the ability to do it, they tend to go a little darker, a little darker.

I have a theory. An audience doesn't need to get wrapped up in blackness every time they see a Negro actor. And a movie doesn't have to be about race just because there's a Negro in it.

I often make movies that involve depression or deep holes of sadness, although there are also these other great things in 'New Moon,' like this epic set-piece at the end of the film in Italy.