Quotes of All Topics . Occasions . Authors
To me, the thing love and cinema have in common is that they are about seeing. The greatest act of love you can give to anyone is to see them exactly as they are. That's the greatest act of love because you wash away imperfections.
I like action movies, even though I think action movies are kind of derided now. But there is something extraordinary about action movies, which is absolutely linked to the invention of cinema and what cinema is and why we love it.
Four places in the country hold great importance in my life - Punjab, where I was born, Nagpur, where I did my engineering and where my wife is from, Bombay where I work and obviously, Hyderabad, where I learnt the craft of cinema.
The satellite and digital space is where the audience for 'Cabaret' lies: a discerning lot who don't rush to the cinema hall on the first day, first show, and prefer instead to consume their entertainment at their time and comfort.
The problem in Hollywood is that they try to become the only kind of cinema in the world, okay? The imposition everywhere of a unique culture, which is Hollywood culture, and a unique way of life, which is the American way of life.
My absolute favorite song I've ever written is "This Is Where We Came In." It's a nudge at younger listeners, cause at one time you could go into a cinema halfway through a film and then stay through and pick up where you left off.
The Old Testament is responsible for more atheism, agnosticism, disbelief - call it what you will - than any book ever written. It has emptied more churches than all the counter-attractions of cinema, motor-bicycle and golf course.
Our group has been in Asia since 1981 in mining, oil and gas. Now we want to mine not silver and gold, but great stories and people, and change the world of cinema, and we want to do that by walking in the footsteps of Wu Tianming.
I think it's a great pity in the Anglophone world that we conflate cinema verite and Direct Cinema; they're, in fact, ontological opposites. In Direct Cinema, we create a fictional reality with characters and pretend we're not that.
Certain personal issues forced me stay away from movies for a while but that does not mean I was idle and cut away from cinema. It was during that break that I wrote two books and found the time to dream about new scripts and plots.
I've been very lucky in my long life. On three continents, in diverse cultures, through happy moments, not-so-happy moments, and moments as marvelous as this one, I've had the privilege of working with the cinema's greatest masters.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
In some ways, I think 'Pulp Fiction' hurt cinema in a very, very minor, small way. It did a massive amount of good. But it also made it impossible to make a movie even remotely like it without someone comparing it to 'Pulp Fiction.'
After I left college, I went to work at the Royal Opera House in London, which became a real catalyst for me because it made me realize that I was interested in cinema and in the way life is thrust at you. So I started making films.
Now why should the cinema follow the forms of theater and painting rather than the methodology of language, which allows wholly new concepts of ideas to arise from the combination of two concrete denotations of two concrete objects?
It's not worth it, it's not about money, especially when you're dealing with a culture. It should be about elevating the idea of what we are and who we are as people in the cinema, and that kind of stuff keeps dragging us back down.
Being open to what's happening in front of you is the most important thing about being a director. To allow the magic to exist and to be light enough on your feet to harness it as it's happening. That's what makes cinema interesting.
Ray Bradbury's connections to fantasy, space, cinema, to the macabre and the melancholy, were all born of his years spent running, jumping, galloping through the woods, across the fields, and down the brick-paved streets of Waukegan.
Most of the cricketers are doing side businesses apart from playing the sport, so why should I be left behind. I feel there is a lot of money in making films, and since Punjabi cinema is doing good, this is a lucrative option for me.
Look, I wasn't saying the Beatles are better than God or Jesus. I said 'Beatles' because it's easy for me to talk about Beatles. I could have said TV or the cinema, motor cars or anything popular and I would have gotten away with it.
For me, it is very important to believe in the kind of movies I do. 'Rang De Basanti' made me feel good about Indian cinema. The movie instilled in me a confidence so strong, that I wanted to be a part of the revolution in Bollywood.
But rather that we should lose our sense that neither can become the other, that the traditional novel form continues to enlarge our experience in those very areas where the wide-angle lense and the Cinerama screen tend to narrow it.
We can't keep thinking in a limited way about what cinema is. We still don't know what cinema is. Maybe cinema could only really apply to the past or the first 100 years, when people actually went to a theater to see a film, you see?
Independent cinema is more thoughtful, delicate. While Western blockbusters can have their own kind of delicateness, it's not delicate enough. You have to be ready to compromise to enter that field. I will do so only if it's worth it.
Personally, I don't give a toss about French viewers. I make films for foreigners - it's a bit like Ken Loach, who's not very popular in England but has had a lot of success in France. Cinema is always an experience in a foreign body.
The landscape of cinema is not original. Not to say there aren't great movies being made, but it's much easier for studios to make movies that have built-in audiences. So it's all remakes, adaptations, a lot of remakes of adaptations.
I think that the cinema is a physical thing. What I'm looking for is creating a physical shock with the audience. I don't care of the meaning. I don't care of the idea. I don't want to say something. I want to make a 'shock physique.'
Though I was born in a cricketing family and played Under 16 and Under 19 cricket for Delhi, my heart was always in cinema. Even while I was playing cricket, I was day dreaming about how it would be to stand on a film set saying lines.
I think part of the reason ideas haven't come in is that the world of cinema is changing so drastically, and in a weird way, feature films I think have become cheap. Everything is kind of throwaway. It's experienced and then forgotten.
I'm in the early stages of a film called 'Freezing Time' about Eadweard Muybridge, the Victorian photographer who was really the forefather of cinema. Digital animators still treat his images like the Bible. He was a very obsessed man.
I think that distributors and marketing companies realise that there are a huge number of women over 40 who want to go the cinema and see films about themselves. Women of my age don't want to be force-fed with stuff about 25-year-olds.
Personally, I prefer contemporary films, but the market calls for more period choices, especially since China opened up a cinema market in Hong Kong. There's a lot of restriction for contemporary films simply because of subject matter.
Cinema really lends itself well to big, archetypal stories, you know, classic old stories and you need kind of a weird, big terrain like the Japanese plains for Samurai movies or the West. You need that for these giants to walk around.
I did not make this a long film for its own sake. I wanted to make an entertaining film and offer it out there for those who want to see it. If word of mouth suggests there is an audience out there, hopefully their cinema will show it.
When I was in elementary school, I watched 'Cinema Paradiso' 22 times and memorized the dialogue. In the movie, everyone had a place, even the bum who thought he owned the piazza. Eccentricities were celebrated, and no one was isolated.
I guess we've had a very close relationship because I don't pretend to know about cinema and I think I do know a bit about theatre but he does, he respected that and so we really just had a collaboration which went completely like this.
From where I sit I see the digital cinema creating sloppiness on the part of filmmakers because they know if they really get in trouble they can fix it later. So they don't pay that much attention, and of course it costs a lot of money.
'Moonlight' is a story that hasn't been told. Whether placed as queer black cinema or urban male cinema, the lack of coming-of-age films featuring people like Chiron and set in places like inner-city Miami is pronounced and unfortunate.
Everyone is looking for a purpose in life. The reason we all go to the cinema or online is because we haven't found a purpose yet. We are always wondering why we're here. But I've learned that we have to create that purpose for ourselves.
To me, cinema is cinema. Cinema is one big tree with many branches. The same as literature. In literature, you don't just say, 'Oh, I bought some literature.' No, you say, 'I bought a novel' by so-and-so, or a book of essays by so-and-so.
The difference that a drama group or a cinema club can make to a small village or a town. It opens people up to ideas, potential about themselves that really, in a way, education often fails to. It's a way of drawing a community together.
Cinema, which is influenced by every single part of life, is direct and reaches you immediately. And writing - the best writing is complex ideas communicated concisely. And music - if it's a good tune, make sure people can bloody hear it.
In Mexico, there are good filmmakers, but they didn't always have the opportunity to show their work. But since 'Amores Perros,' many of these filmmakers had the opportunity to show their films, and they have a newfound energy for cinema.
Cinema through spectacle, through the entertainment of spectacle, tells the story of many actual problems in life. Because who ever doesn't want to read between the lines can just enjoy the entertainment and the show and can go home happy.
I don't have any particular wish to be polemical or didactic; I don't have a 'message', but what I do thoroughly enjoy are those works of art, not necessarily in the cinema, but in the other arts as well, which have an encyclopaedic world.
The Khmer Rouge tried to delete everything. They tried to erase our past, our personality, our land, our sentiment. What we tried to do in 'The Missing Picture' was to reconstruct our identity, to bring it back to the people through cinema.
From where I sit, I see the digital cinema creating sloppiness on the part of filmmakers because they know if they really get in trouble, they can fix it later. So they don't pay that much attention, and of course it costs a lot more money.
One of the nicest things I ever read about our show was that a critic felt 'Boardwalk Empire' could be the beginning of the blur between television and cinema, because the production values are so high and the storytelling is so compelling.
I think there's a growing courage among the younger generation of American writers. Because of the more superficial treatment of characters taking place in cinema, they have had to deal with that by digging deeper into who these people are.
Indian cinema needs all ingredients like emotion, action, sentiment and humour; it's not easy. It's easy to make a Hollywood film, as it goes with a pattern. Our cinema needs a lot of commercial ingredients. That's why I don't do many films.