Quotes About Cinema

I think what I loved in cinema - and what I mean by cinema is not just films, but proper, classical cinema - are the extraordinary moments that can occur on screen. At the same time, I do feel that cinema and theater feed each other. I feel like you can do close-up on stage and you can do something very bold and highly characterized - and, dare I say, theatrical - on camera. I think the cameras and the viewpoints shift depending on the intensity and integrity of your intention and focus on that.

There is more to Indian cinema than just Bollywood. I think regional cinema, especially Tamil and Marathi cinema are exploring some really bold themes.

More than my other films, Uncle Boonmee is very much about cinema, that's also why it's personal. If you care to look, each reel of the film has a different style - acting style, lighting style, or cinematic references - but most of them reflect movies. I think that when you make a film about recollection and death, you have to consider that cinema is also dying - at least this kind of old cinema that nobody makes anymore.

I love cinema. It is the most important thing to me. Life is cinema. It has been this way since I was a child of about 14, and I was going every day to see the movies.

Cinema is all about going back from shadow to light and back and forth: cinema is a place of transgression.

In the point of view of my personal feelings, I love the music as well as the cinema, but the future of a trumpet player - in the money point of view, but also any point of view - is very short on expectations. The life of a moviemaker can be glorious and wonderful. It can put your life in the best of possibilities. I decided to forget music. Not forget, because this is impossible, but to work in cinema, and just to be someone who loves music, and who tries to make music with his films.

One absolutely crucial change is that feminist film theory is today an academic subject to be studied and taught. "Visual Pleasure and Narrative Cinema" was a political intervention, primarily influenced by the Women's Liberation Movement and, in my specific case, a Women's Liberation study group, in which we read Freud and realised the usefulness of psychoanalytic theory for a feminist project.

Cinema and theater - it's apples and oranges. You can't really beat movies. Yeah, when you're on an Oliver Stone set everybody brings their A game. Everybody brings their A game, from the top to the bottom and in between. In terms of theater you know there is no way to really duplicate that rush you get when you take an audience that is live and right there in front of you through the journey of a great play and you go through these emotions so that they can experience them without having to go through them themselves.

Most big concerts sound disgusting and awful and insultingly bad. It's like going to the cinema and been shown a scratchy film which is upsidedown and the bulb had gone on the projector. The quality of large-scale live music is so shocking.

Unfortunately, my ideas are not what you'd call commercial, and money really drives the boat these days. So I don't know what my future is. I don't have a clue what I'm going to be able to do in the world of cinema.

Everything encourages you not to tell stories of gay lives. There is no economy yet for that kind of cinema.

The cinema is really built for the big screen and big sound, so that a person can go into another world and have an experience.

Cinema informed my painting by the sheer geography - on locations, there is so much downtime. And when you're spending all this time creating art by committee, the concept of the singular voice is a pleasant antidote.

I never studied anything about film technique in school. Eventually, I realized that cinema and theater are not so different: from the gut to the heart to the head of a character is the same journey for both.

Film has become a marketed commodity, and the opportunities and audiences for art cinema have grown smaller. There is a general downturn in cultural literacy, perhaps because of television.

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 believe that you must be madly in love with cinema to create films. You also need a huge cinematic baggage.

All my life, I have loved and been inspired by French cinema, and as a studio head it has been my pride and joy to have the ability to bring movies to audiences around the world.

I knew that this was the movie in which a lot of the cinema version of Burton-esque first started. So, I knew that there were things that were hugely important to him for it, but it didn't really feel that different than working on any other of these projects.

What makes international cinema so interesting is that each territory has its own sensibility. When you look at an Indian or French film, there's a certain flavor. And even though the language is different, if the film is successful, it has something very common and understandable.

There are thus two tasks for the Mass Media division of Unesco, the one general, the other special. The special one is to enlist the press and the radio and the cinema to the fullest extent in the service of formal and adult education, of science and learning, of art and culture. The general one is to see that these agencies are used both to contribute to mutual comprehension between different nations and cultures, and also to promote the growth of a common outlook shared by all nations and cultures.

I think what makes compelling fiction or cinema is when you're basically taking the most intense moments of experience and you're creating a song or a narrative out of it.

Cinema is a matter of what's in the frame and what's out.

I love films that make me react emotionally and physically when you walk out of the cinema. Two of my favorite films however have got to be 'The Tree Of Life' and 'The Piano Teacher,' which also stars one of my favourite actresses Isabelle Huppert.

Since I was a baby my goal was to be on TV because film was just impossible - you never got any Asian women in Western cinema. I grew up wanting to be in 'East-Enders' because film wasn't even a dream. The community were very much like, 'How can you want to act? It's such a low-class profession.

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.

A book is a book, but a movie is a movie. The more faithful you are, the more you'll come up with Harry Potter #1 and #2, which are like filmed books on tape. They're so petrified of turning off the readers that they make no concessions to the fact that they're trying to make a piece of cinema.

Bicycle Thief is a triumphant discovery of the fundamentals of cinema, and De Sica has openly acknowledged his debt to Chaplin.

Cinema has opened a world of possibilities up for me.

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.

A myth is a fantasy, a preferred lie, a foundational story, a hypnotic trance, an identity game, a virtual reality, one that can be either inspirational or despairing. It is a story in which I cast myself; it is my inner cinema, the motion picture of my inner reality - one that moves all the time. No diagnosis can fix the myth, no cure can settle it, because our inner life is precisely what, in us, will not lie still.

The so-called "remake" is simply a commercial formulation of a much deeper exchange which accounts for the way cinema is what it is.

The convergence of the Rhone and Saone. Paul Bocuse. The birthplace of cinema. Chateauneuf-du-Pape just a few miles down the road. It does not get much better than Lyon.

You talk about auteur de cinema having things in their heads and putting them all across, can you imagine Shakespeare writing screenplays?

A journalist in America told us that we'd [with Johhny Depp] been working together for 10 decades, so we're a lot older than we look! We actually knew each other before the invention of cinema, so we have quite a good, long relationship.

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.

In the '60s when I started to see everything I could see, you could see pretty much everything which was still available from the '30s, '40s, '50s, '60s, and therefore I had an education which was really large and vast in different cinema. That's probably the reason I did not fall for the New Wave. It's really the love of the movies that made me want to become a cameraperson, definitely. I was really a film buff.

I go to the theater two or three times a week when I'm in London. Whereas I feel guilty going to the cinema in the middle of the afternoon.

To be only spectacular should be 5 or 10 percent of cinema.

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 watch all the classic films that film people say that you ought to have seen, and I try to watch things in the cinema when they come out, just to keep my eye on the competition. I'm bored when I'm not working.

When you get an idea, so many things come in that one moment. You could write the sound of that idea, or the sound of the room it's in. You could write the clothes the character is wearing, what they're saying, how they move, what they look like. Instead of making up, you're actually catching an idea, for a story, characters, place, and mood - all the stuff that comes. When you put a sound to something and it's wrong, it's so obvious. When it's right, the whole is greater than the sum of the parts. That's a magical thing that can happen in cinema.

Movie acting is about covering the machinery. Stage acting is about exposing the machinery. In cinema, you should think the actor is playing himself, if he's that good. It looks very easy. It should. But it's not, I assure you.

In terms of making TV drama, not everything has to make sense. In cinema, you usually strive for reality and a natural environment, but in TV, it's more acceptable to do something crazy and break with naturalism.

I always think about visual comedy. I was raised watching silents, and I'm always thinking about how to make cinema, not good talking - although I want good talking. I'm much more interested in framing, composition, and orchestration of bodies in space, and so forth. My goal is always what Chuck Jones wanted his Warner Brothers cartoons to be, which was if you turn down the sound, you could still tell what's going on.

Although for some people cinema means something superficial and glamorous, it is something else. I think it is the mirror of the world.

The cinema is truth 24 frames-per-second.

Here in the U.S., culture is not that delicious panacea which we Europeans consume in a sacramental mental space and which has its own special columns in the newspapers - and in people's minds. Culture is space, speed, cinema, technology. This culture is authentic, if anything can be said to be authentic.