Quotes of All Topics . Occasions . Authors
After 100 years, films should be getting really complicated. The novel has been reborn about 400 times, but it's like cinema is stuck in the birth canal.
Nevertheless, in the theatre, and in the cinema, the contemporary reality of Poland has been represented only to a minuscule degree in the last 12 years.
I'm a student of cinema in general, not just of one particular genre. So it was very important to me and to my soul to go out and do something different.
I have something inside of me that every day tells me that nature and beauty is the soul, the meaning, of our life. And I also love Hollywood and cinema.
Editing is not merely a method of the junction of separate scenes or pieces, but is a method that controls the 'psychological guidance' of the spectator.
There are five stages in the life of an actor: Who's Mary Astor? Get me Mary Astor. Get me a Mary Astor type. Get me a young Mary Astor. Who's Mary Astor?
When I was ten, I had a weird cinema party where I invited everyone from my street to come. I pretended I was an usher and tried to sell them all popcorn.
People who speak different languages, they are watching the movie from our language. So, I think all of us should be proud as nation and as cinema lovers.
When I was ten, I had a weird cinema party where I invited everybody from my street to come. I pretended I was an usher and tried to sell them all popcorn.
I love KIFF. No one can stop me from being a part of it. I have always watched good movies there. Earlier on, that was the only space to watch good cinema.
The people of U.P. are very simple and grounded. They take pleasure in admiring arts and cinema. This is why it is emerging as a big market for filmmakers.
I came from the school of cinema verite documentaries, which was: Do not manipulate reality as it was happening but create a narrative in the editing room.
Filmmaking has always involved pairs: a director coupled with a producer, a director alongside an editor... The notion of couples is not foreign to cinema.
I don't go out a lot, as I like to stay in. I often go for dinners with my girlfriend, and I love to see movies at the cinema, but I don't understand them.
I'd rather spend my time with grape growers than actors. In the film industry, all the money is focused on television and the stupidity of American cinema.
No, I like today's cinema a lot. But I've spent so many decades only making movies. There's so much that I still want to do. Like, live. It's only up to me.
I never maligned the sanctity of cinema in my career. I always selected themes and made films with the fervent hope that they will never demoralise viewers.
It doesn't matter if it's black-and-white. If a movie has a story that is filled with emotion, you can have as much pleasure, and it's very good for cinema.
I just don't think there's a lot of support for the woman's voice in cinema, and it becomes really difficult to raise that money and start again every time.
The cinema is a very truthful medium because the camera doesn't let you get away with anything. On stage, you can even loaf a little, if you're so inclined.
Cinema is a medium that can translate ideas. But wood can translate ideas, too. You have wood and then you get a chair. Some ideas are for different things.
Folk tales, fairy tales, religion, the occult - these are the things I'm most passionate about, even more than cinema. And I'm very passionate about cinema.
Now more than ever we need to talk to each other, to listen to each other and understand how we see the world, and cinema is the best medium for doing this.
A film is not a vehicle to accuse, or to relay a specific message. If we reduce a film to this, we lose all hope for cinema to ignite a richer conversation.
I was raised in a family where cinema was a way of life. It was not only about making films, it was relationship, passion, love, everything at the same time.
That's the thing with independent cinema: They all get good reviews, and they don't make money. Some of them are good. Some are great. And some are terrible.
The movies that I do are in love with cinema, and I try to show that I am in love with cinema. I want them to be, in other ways, drinking from other sources.
For me cinema is image, sound, and the faces and bodies and, yes, voices, of my actors, and sometimes the words that they are saying, but not only the words.
Harrison Ford was pretty content as a carpenter who thought it would be nice to work on TV and ended up being the biggest film star in the history of cinema.
Any film I do is not going to change the way black women have been portrayed, or black people have been portrayed, in cinema since the days of D.W. Griffith.
Song, dance and cinema are so deeply within the Indian culture and with so many cultures incorporating their elements too, it has become a wonderful collage.
If people go to IMDB, they will see that I'm very comfortable with independent cinema, and doing studio films too. For me this is not an either/or situation.
The influence of cinema on all contemporary writers is undeniable. Because film is such a powerful and popular art form, we prose writers think cinematically.
Most cinema is not about images but text. Why on earth have we based cinema on text? Why can't we break that umbilical cord? Why do we have to pollute cinema?
I think that it's not a bad thing to not be too versed in the vocabulary of cinema, because you start to think that certain things are allowed and not allowed.
I started making movies in the early '90s, a few years after I discovered 'the cinema' during a three month stay in Paris during which I watched 100s of films.
I'm glad that cinema is catching up to what television has known for a while: That three-dimensional, complex women get an audience engaged as much as the men.
We cannot compare Marathi cinema industry with other regional industries or even Hindi industry. It will be unfair for us. Every industry takes time to evolve.
Over the years, there has been an intermingling of film and aircraft. This relationship has generated all kinds of movies, including those filmed in San Diego.
I love watching a good, freaky horror movie. I love it. It's one of my favorite things to do, to go and see at the cinema. Just to tune out and be freaked out.
I can't go to the cinema. I go to the bathroom in a petrol station and people come in there for autographs. It's tough but I knew that was going to be the case.
I seldom feel comfortable in a theatre. I always feel like I own a cinema. I feel equally happy in an empty one as a full one. Probably happier in an empty one!
My work is better, maybe all filmmakers are better, for Polanski's imprint on cinema. He created language for all of us to use, there is no question about that.
I went to the University of Michigan for one year, and fortunately they had a foreign-film cinema, and I discovered it, and I thought I died and went to heaven.
Modern American cinema seems to me superficial. The intention is to understand a certain reality, and the result is nothing but a photographing of that reality.
The only way independent cinema can come out of its own rut is by learning to be more consistent. An indie filmmaker should feel responsible for others as well.
I'd wanted to be a writer and when I came back to New York worked as a musician too, but I found my writing starting to get more and more referential to cinema.
There are things that I love in Iranian cinema and things that I don't. In Iranian cinema, you have to use metaphor because you are living under a dictatorship.
I also wanted to express the strength of cinema to hide reality, while being entertaining. Cinema can fill in the empty spaces of your life and your loneliness.
I was introduced to cinema by C-grade films that played in my village, Budhana, in UP. Only films by Dada Kondke, Mahendra Sandhu, and Kanti Shah were available.