Quotes of All Topics . Occasions . Authors
Movies began as a communal experience. Even though we now watch them as DVD's, sometimes alone on our computers, mostly in the history of cinema it has been a communal experience.
The films that I go to see at the cinema are not Hollywood blockbusters particularly. I've not got anything against them... I'm in them! But I don't go and spend my money on them.
It is my first preference to do films with social significance. Art cinema has given me credibility and status as an actor, but commercial cinema has given me a comfortable living.
I have always admired him (Bergman), and I wish I could be an equally good filmmaker as he is, but it will never happen. His love for the cinema almost gives me a guilty conscience
There are so many things from movies that are remembered, that are just looks on people's faces or incredible vistas or beautiful pictures. That is a very important part of cinema.
There is no border in my films. You can see yourself in these stories. This is the greatest thing about the power of cinema. It's very present. It's all there. You can't escape it.
To tell you the truth, I never wanted to become a moviemaker. It was like I was a cinepihile, and I go, like, three or four times per week to the cinema, and I like to watch films.
Cinema is a territory. It exists outside of movies. It's a place I live in. It's a way of seeing things, of experiencing life. But making films, that's supposed to be a profession.
There's a fashion, or maybe you could call it a necessity, in French cinema to make social films, which is to say films in which the characters are defined by their social context.
The cinema should be human and be part of people's lives; it should focus on ordinary existences in sometimes extraordinary situations and places. That is what really motivates me.
All drama is conflict. Without conflict, there is no action. Without action, there is no character. Without character, there is no story. And without story, there is no screenplay.
The future of cinema and communications is all about collaboration and the decentralized control of storytelling. We're all part of the story; we can all contribute and participate.
Sex appeal is a good thing for commercial cinema. Though I can't sit at home and consider myself a sex symbol, it is for people to do so. I want to be known as an interesting actor.
It's hard to imagine anyone interested in film not being a fan of Alfred Hitchcock because he's such a key influence on the entire history of cinema - it's hard to escape his shadow.
Well, as a visual artist working with the phenomenon of cinema, the grammar of cinema, [making a feature] was bound to happen. Everything I do is like sculpting with image and sound.
But you can still find good films if you read your local film critics and are willing to drive a bit. You have to be a proactive film viewer to have the most provocative cinema life.
The film industry has been extremely welcoming to me. It's an industry which is biased to what they think is talent. If they think you can bring value to cinema, they'll support you.
I'm so happy when someone does something original, and there's no focus group or planning committee. If the cinema doesn't get an injection of that once in a while, we're in trouble.
I just like really simple things. If I had been on tour for a while and I got to come back and take my girlfriend Eleanor on a date, we would go to the cinema and then out for dinner.
I like films to be pure cinema, but I also like them to provide a snapshot of a family, a society or a character - something that can nourish you as a human being as well as an actor.
The Last Of England works with image and sound, a language which is nearer to poetry than prose. It tells its story quite happily in silent images, in contrast to a word-bound cinema.
My career in the movie business began in Hong Kong, my heart has always been tied to Asia, and it is immensely gratifying to see international recognition for Asian cinema as a whole.
What came out of 'Ocean's Twelve' is actually great because you do one 'Ocean's Twelve,' and you're more known around the world than if you did 20 years in the French cinema industry.
It's important for cinema to keep on evolving: for people, and not only teenagers, to be able to go to a movie that has huge epic scope but has an intellectual and real story to tell.
We must have song and dance in our lives; we've had it ever since the inception of cinema in India. Our stories are very social-based, very human-based. We are a very emotional nation.
The only acting I knew when I was a boy came from Lochgelly. With a double bill, people would live their lives in the cinema. You would even see babies being breastfed in the audience.
People make a star out of actors after one or two films and keep capitalising on the same thing without having the courage of exploring the world of cinema, which has so much to offer.
["Aquarius"] it had a bit of a rocky arrival in cinemas because we were given the 18+ rating, which did not make any sense in terms of the Brazilian rating system for a film like this.
One of my great all-time loves in cinema, and I've seen it three times, is Bondarchuk's 'War and Peace.' Not a lot of people may have seen that film. It was made during the Soviet era.
There are so many tricks and so much eye candy in cinema. What I love about the classicism of genre is that there's a discipline. I think it's a healthy thing to resist all that candy.
I wanted to make a cinema of ideas, not plots, and to use the same aesthetics as painting, which has always paid great attention to formal devices of structure, composition and framing.
I kind of worry about that a little bit - we lost our film culture for 30 years because the Americans came in and bought up all the cinema chains and wouldn't show any Australian films.
Of course it's true: the public want to see young people - young people are the people who go to the cinema. It's a sad fact of life, but you've got to accept it and not whine about it.
On Being John Malkovich and the cinema of the absurd, I do enjoy it. I wish there were more like it. The very fact that there can't be more like it is one of the reasons it's admirable.
Like everybody, I wanted to meet Andy Warhol. I was impressed by his work and how daring he was. I think he changed the cinema completely, simply by opening his camera and letting it go.
I initially studied literature [in France], and then I went to cinema school. I discovered the Cinematheque, and saw not only action movies and westerns, but also lots of serious movies.
It's part of developing the whole state of how cinema is; everyone is looking out and engaged rather than it being just a financial thing or sitting back, waiting for scripts to turn up.
For me, filmmaking combines everything. That's the reason I've made cinema my life's work. In films, painting and literature, theatre and music come together. But a film is still a film.
I'm getting a little bored by the juxtaposition of American and other cinema. I no longer think this division is as true as it might have been in the 1980s, or the early part of the 90s.
Basically, I have always wanted to have an art-house cinema. A cinema where we can show films that are not necessarily the current offerings on circuit and films that are not commercial.
It is an entirely selfish decision to turn producer because I want my kind of cinema to last and flourish, and helping young filmmakers make those kind of films is the best way to do it.
What's my dilemma here? Am I making entertainment or am I making art? What am I saying? At the end of the day, cinema is entertainment for millions of people, but for me it's expression.
Our cinema has evolved in last 60 years because we have made people happy through our films. The main purpose of our storyline is to spread happiness. Our cinema has an emotional connect.
Many years ago making movies was something. It was the major entertainment just to go to the cinema, once, twice a week. At the time, something like 400 million people went to the movies.
Well the least favourite question is the one that one's asked particularly about in Japan is what's the difference between theatre and cinema and I think, well, that's about eighty bucks.
But I think that the spirit of protectionism would be the grave of European cinema. You cannot protect something by building a fence around it and thinking that this will help it survive.
'Up the Junction' really made me understand the power of cinema to create a vivid sense of a community. When I went on to make 'Bhaji on the Beach,' it was this sense I tried to recreate.
I think the long-term effect of video on cinema is good in that what we are now getting up there on the screen is of superior quality. Videos are just so much more sensitive to the world.
We're trying to tell stories. We're a company that's concerned with global change and the effect of global cinema. We're not simply tied to the very limiting framework of U.S. film-making.
When I was really young, I was obsessed with Bollywood. Then I got exposed to world cinema, and I wanted to be a part of it. Then I was exposed to theatre, and I only wanted to do theatre.