Samuel Goldwyn Films - Films

Films

This film, television or video-related list is incomplete; you can help by expanding it with reliably sourced additions.
  • Me Without You (2001) (with Capitol Films)
  • Tortilla Soup (2001)
  • Cowboy Bebop: The Movie (2002) (with Destination Films, Sunrise Animation and Bones)
  • The Man From Elysian Fields (2002)
  • Mambo Italiano (2003)
  • Master and Commander: The Far Side of the World (2003) (with Twentieth Century Fox, Miramax Films and Universal Pictures)
  • What the Bleep Do We Know? (2004)
  • Super Size Me (2004) (with Roadside Attractions)
  • The Squid and the Whale (2005)
  • MirrorMask (2005)
  • Blind Dating (2005)
  • Facing the Giants (2006) (with Destination Films and Sherwood Pictures)
  • Seraphim Falls (2006)
  • Amazing Grace (2006)
  • Fireproof (2008) (with Affirm Films and Sherwood Pictures)
  • Brothers at War (2009)
  • American Violet (2009)
  • The Merry Gentleman (2009)
  • Management (2009)
  • Blood: The Last Vampire (2009)
  • Cold Souls (2009)
  • (Untitled) (2009)
  • Mao's Last Dancer (2010)
  • Harry Brown (2010)
  • The Dead Sea (2010)
  • Legendary (2010) (with WWE Studios)
  • Kucklehead (2010) (with WWE Studios)
  • Welcome to the Rileys (2010)
  • The Whistleblower (2011)
  • The Chaperone (2011) (with WWE Studios)
  • That's What I Am (2011) (with WWE Studios)
  • Bloodworth (2011)
  • There Be Dragons (2011)
  • Assassination Games (2011)
  • Inside Out (2011) (with WWE Studios)
  • A Good Old Fashioned Orgy (2011)
  • October Baby (2012) (with American Family Studios and Provident Films)
  • Upside Down (2012) (with Millennium Entertainment, Warner Bros {France}, Onyx Films and Studio 37) (uncredited) (US only)
  • Cowgirls n' Angels (with Paramount Pictures)
  • The First Time (2012)
  • Home Run (2013)

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Famous quotes containing the word films:

    “Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.”
    —David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)

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    “The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn’t.”
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