Quotes of All Topics . Occasions . Authors
I love celluloid. I love the look of it.
Celluloid will be the next decade's black and white.
I want to be an artist, not... a celluloid aphrodisiac.
Ecstasy is not really part of the scene we can do on celluloid.
The movies are celluloid hemorrhoids. No, worse: They're celluloid Bon Jovi.
This award is meaningful because it comes from my fellow dealers in celluloid.
Anybody with any sense knows the whole solar system will go up like a celluloid collar by-and-by.
I'd like to own a movie camera - a proper one, with film, not a digital thing. Celluloid has more character.
There are some stories - not even stories, some feelings - that you can't accomplish in cinema without using celluloid.
I know that 'Tangerine' is getting a lot of attention for pushing the iFilm, but I am really mourning the death of celluloid.
Digital is great; I see the benefits and beauty in both formats. But it doesn't give you that organic quality that celluloid brings.
I like celluloid, I like film, I like the way that when a movie is projected it sort of breathes a little in the gate. That's the magic of it to me.
I love that we've chipped away at the celluloid closet and have wonderful programs that feature gay and lesbian characters in really rich, fully developed ways.
No director can ever deliver what's on his or her mind totally, but 'Baahubali-2' is the closest I can get in executing what I had envisaged onto the celluloid.
Acting is fantastic, but to be able to create a whole world on celluloid is amazing. It's like taking your dreams straight from your head and projecting them onto a screen.
I'm an advocate of all mediums - it's a larger canvas for us as artists - but we have to keep in mind that celluloid film is what created this wonderful art form, and we have to keep it alive.
There was a time when the industry would typecast actors. It still continues to an extent on the celluloid but with the digital medium coming to the fore, the actors are finding equal status with the stars.
On the sets of the movie 'Manto,' I found that one of the challenges of embodying real-life stories is the mixed medium of facts and imagination, and how one's collage of experiences colour ones representation on celluloid.
As vocal as some people have been about how emotionally attached they've been to celluloid, I've been equally emotional in my stance that nothing is more valuable than this. Than being able to see the result of your work quickly.
'Celluloid' is set in the 1930s. During the decade, the folk-classical genre seems to have been in vogue. It didn't take much effort to compose because my guru Neyyattinkara Mohanachandran and his guru, M. M. Dandapani Desikar, used to sing this genre.
This is a career about images. It's celluloid; they last for ever. I'm a black woman from America. My people were slaves in America, and even though we're free on paper and in law, I'm not going to allow you to enslave me on film, in celluloid, for all to see.
I prefer theater, but I love to do films, and I prefer theater primarily because I've done more. I know less about movies. You can't lie in either medium. The wonderful thing is that the camera, just like an audience, is made out of skin - because celluloid is skin.
A lot of people get very misty-eyed about celluloid. When I think of the time that's wasted in sending it back to the lab and having it developed and brought back, it would make me insane. I love getting my hands on the stuff immediately. That doesn't work for everybody. It just works for me.
I'm sad to see celluloid go, there's no doubt. But, you know, nitrate went, by the way, in 1971. If you ever saw a nitrate print of a silent film and then saw an acetate print, you'd see a big difference, but nobody remembers anymore. The acetate print is what we have. Maybe. Now it's digital.
The wonderful thing about 48 fps is the integration of live action and CG elements; that is something I learned from 'The Hobbit.' We are so used to 24 fps and the romance of celluloid... but at 48 fps, you cannot deny the existence of these CG creations in the same time frame and space and environment as the live action.
The cinema began with a passionate, physical relationship between celluloid and the artists and craftsmen and technicians who handled it, manipulated it, and came to know it the way a lover comes to know every inch of the body of the beloved. No matter where the cinema goes, we cannot afford to lose sight of its beginnings.
Remember, science fiction's always been the kind of first level alert to think about things to come. It's easier for an audience to take warnings from sci-fi without feeling that we're preaching to them. Every science fiction movie I have ever seen, any one that's worth its weight in celluloid, warns us about things that ultimately come true.