Quotes of All Topics . Occasions . Authors
So, if falling crime rates coincide with the rise of violent video games and increasing violence on TV and at the cinema, should we conclude that media violence is causing the drop in crime rates?
I don't think I've succeeded in making any really good films. There are moments, scenes, whole movements that sing. It has all added up to a cinema of sorts, even though I'm still learning my art.
I love escaping into film, because everyday life I find quite troublesome. So any excuse to go into a cinema and say goodbye to the world for a couple of hours, or in a book or whatever, is great.
Do we recognize the platform that Indian cinema has been given? Of course. And typically India of us, we gracefully acknowledge our host's grace and we thank you for celebrating us and our cinema.
The film industry is large enough and has many successful icons that have taken Indian cinema to shores beyond India. I think that Indian cinema itself needs to be applauded beyond one individual.
In France, if you have any sort of talent, you'd better keep it here. And if you're going to go abroad, it had better not be America. The old battle - American versus Frog cinema. It's ridiculous.
I make every movie and every scene like it could be my last. That's the only way I know how to make cinema that stands on its feet. I have to treat it like that. It has to be life and death stakes.
I saw David Lynch's 'The Elephant Man' when I was 15. I was completely bowled over. I found it so beautiful, strange and mesmerizing that I went back to the cinema every night for a week to see it.
I'm at peace with myself. My film just may please audiences. At any rate, it's already a great prize to be part of just 16 films among all of the world cinema out there. I'm tranquil and satisfied.
More than an actor, I am a performer... I'm a great believer - honestly so, shamelessly so, vulgarly so - that cinema is for entertainment. If you want to send messages, there's the postal service.
When you screen a film like 'The Missing Picture,' it is not like watching TV. Watching TV is very solitary. When you watch cinema, you watch it together, and you talk about it after the screening.
At its best, cinema does retain a remarkable ability to speak to people of every age, from every background, and in ways that almost any other art form in popular culture struggles to compete with.
Hollywood has its own way of telling stories. I was just telling stories that I was familiar with. And it's what I want to do in the future: I want to take my audio cinema and put it on the screen.
Cinema d'auteur, cinema about people, about emotions. About la difficulté d'être, the difficulty of being, existential problems. That's what the nouvelle vague is. The early '60s was all about that.
I'm a huge John Hughes fan, and I grew up in the '80s, when his films came out. So, my introduction to what you'd call 'cinema love,' that illusion of love, was 'Sixteen Candles' and Molly Ringwald.
I am an animator. I feel like I'm the manager of a animation cinema factory. I am not an executive. I'm rather like a foreman, like the boss of a team of craftsmen. That is the spirit of how I work.
I think the first British actor who really worked well in cinema was Albert Finney. He was a back-street Marlon Brando. He brought a great wittiness and power to the screen. The best actor we've had.
French cinema has always been very interesting, and it's still very powerful. I think it goes to show that it's great to still have a cinema that doesn't try to emulate, for example, American cinema.
I came to cinema for money. I had to settle a loan of Rs 10 lakh. I had no other go, so I thought I'd try my luck in films. I was earning Rs 25,000 at that time. It was not even enough for my family.
In a sense I feel very much a part of the cinema now in a way where when I come back to the theater now I feel like a visitor. The cinema is really what I enjoy. I want to do more independent movies.
I'm not coming from film school. I learned cinema in the cinema watching films, so you always have a curiosity. I say, 'Well, what if I make a film in this genre? What if I make this film like this?'
I'm a movie buff. My mom would take me to a double feature. We'd come out, go have Chinese food, and then go back into another cinema and see another double feature. I feel I'm a child of the movies.
What is overlooked is the astonishing amount of history Hollywood has got right... For better or worse, nothing has been more influential in shaping our visions of the past than the commercial cinema.
I remember going to see Billy Graham in a cinema in Glasgow, and he was down in London. I used to go and hear preachers, and then we always went to church and Sunday school. That mattered a lot to me.
I saw 'The Exorcist' at the cinema when I was quite young, maybe 14. When I went back home, my mum and dad weren't in, so I had to wait for them on the main road. I were too scared to enter the house.
Americans don't understand what metaphor in cinema is about. They're extremely good at making straightforward, linear narrative movies, which entertain superbly. But they very rarely do anything else.
For British cinema to survive, you really need a British film culture, and it's got to start down there, with young kids watching films in the cinema - so they can be transported to a different world.
That's the way life is: meaning is always there, but there is no clearly given way of decoding it. Conventional cinema obscures this with an easy reduction of meaning to plot and schematic characters.
Normally, Finns wait for a couple of years and watch Aki's films on television. But it is as though the international reputation of 'The Man Without a Past' caused them to go and see it at the cinema.
I don't go to the cinema often anymore - I'd rather just pop in a disk and get the biggest monitor you've got, and if the quality is superb, I can watch a film, and if I don't like it I can pop it out.
I need theatre for my equilibrium, because in theatre the actors don't care so much about image, about celebrity - you are more independent. There is not the narcissism, maybe, that you find in cinema.
Don't make your living with cinema because Hollywood will take you, will eat you, will destroy you. This is the reality. You have a good picture, have success, you take the person and they destroy you.
In the early '90s, when those little art films started coming out, we were introduced to Quentin Tarantino and guys like that, and independent cinema was something that everyone wanted to be a part of.
The fact of the matter is fame predates even the age of cinema. There's always been fame, there's always been the caveman who's prettier or killed a bigger lion, or somebody started a story about a guy.
I suppose I am gently cynical about notions of who we think we are, but I certainly don't hate my fellow man. I think my cinema, although it might often deal with death and decay, is highly celebratory.
For seven years, I made films in the cinema verite tradition - photographing what was happening without manipulating it. Then I realised I wanted to make things happen for myself, through feature films.
Wes Craven's 'Shocker' is one of my favorite soundtracks. I don't know where that movie stands in the critical eye of cinema, but it was a really fun movie because of all the bands that were part of it.
And Twin Peaks, the Film is the craziest film in the history of cinema. I have no idea what happened, I have no idea what I saw, all I know is that I left the theater floating six feet above the ground.
I would always slip away to the cinema. I always found something absolutely extraordinary about the fact that these actors were always kind of kicking hard at some new dimension they were doing on film.
The heritage of a British actor revolves around the challenges of playing the classic roles to meet certain levels of success as an actor. In America, the heritage of an actor is based on cinema mainly.
Entertainment today constantly emphasises the message that things are wonderful the way they are. But there is another kind of cinema, which says that change is possible and necessary and it's up to you.
To the leaders of the cinema still to come, I can offer only a few words drawn from my modest experience. You must ceaselessly formulate and sharpen your critical views, both of others and of yourselves.
There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization.
I like being able to go to the cinema and sit and spend time observing something without thinking about plot or what one character is saying. I feel like I'm able to connect on a much more profound level.
Every medium has its own kind of freedom. I don't want to just cross from one to the next. I want to enjoy the freedom each one has. Sometimes, you can do something for TV that you can't do in the cinema.
When I went to the cinema as a boy, when I saw a war film, I thought the general was the star, and that Cary Grant was an extra. I had no idea about the structure of film, but I loved going to the cinema.
Radio did not kill books and television did not kill radio or movies - what television did kill was cinema newsreel. TV does it much better because it can deliver it instantly. Who wants last week's news?
I know my audience, and they, in turn, know my cinema. When I pick a subject, it's for a family audience. I shoot and edit my films keeping them in mind. I'm dead sure about the product that bears my name.
I've never done a film before where every single person in the audience knows the ending. I mean suspense, twists are almost impossible these days. People are blogging your endings from their cinema seats.