Quotes About Cinema

And having those mystical elements you see in Asian cinema and certainly Asian martial arts cinema, it's something that we wanted to begin to introduce - the idea of spirituality and the idea of there being something else out in the world besides people who are great fighters.

In cinema we have all kinds of ways of communicating: cinematography, lighting, character performance. If you pay attention to silent era movie actors, they are big about postures and really exaggerated expressions so you can understand how they feel. We use all kinds of techniques from cinema to help communicate emotion.

Good cinema is good cinema. It makes you feel like you need to work. Just yesterday I saw a good film, but even if I'd seen a bad one, I'd feel, "Oh my god, what a bad job, I can do better."

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.

If you're going to break cinema, film, and movies apart, very rarely to you get the opportunity to even think that you've been a part of cinema.

I don't believe that one has to tear down the cinema screen in order to renew cinema. But new input and new energy are lacking. They are flowing above all into the television technologies. We must, therefore, concentrate on the CD-ROM.

Good cinema is what we can believe and bad cinema is what we can't believe. What you see and believe in is very much what I'm interested in.

I'm a huge fan of world cinema, because each country uses cinema in a very individual way.

I don't know what to say to people. It's become so big. It's become part of the cultural environment. For the first and second Twiglight, I knew exactly what to say to people. If you don't know what the story is by now, then you've probably never been to the cinema before. How about, "Why not go to the cinema for once?" I don't know.

. . . it is true that language and forward movement in the cinema are jolly hard to reconcile. It's a very, very, difficult thing to do. . . . There is still a place in the cinema for movies that are driven by the human face, and not by explosions and cars and guns and action sequences . . . there's such a thing as action and speed within thought rather than within a ceaseless milkshake of images.

I want viewers want to talk about The Conquest. I want the dialogue to start after the movie. The cinema is there to leave a trace. I hope my film leaves a trace and that it will open a door for French cinema and that tomorrow other directors will make political movies. The job of a filmmaker today is to talk about the world surrounding him and, through his movies, to both entertain and raise questions about modern society.

Any story that gets us thinking, and particularly young people, thinking why? Whether it's as a result of reading the book, or coming out of the theatre or the cinema, I think we should just simply be asking the question 'why'? Why did it happen to those people? Was it necessary? And anything that gets us thinking like that is really important.

I prefer working in good cinema, wherever it is. I like subjects that have a universal appeal.

My life is existing. Cinema is certainly not my life

I never really had any intention of getting involved in documentaries until the opportunity came around. I always thought much more in classic fiction cinema terms and I think I tried to apply those ideas to documentaries and not vice versa.

Cinema will always have an important role to play in society.

I'm so happy and relieved for the indie spirited film world because ... I don't even know if it's indie, it's just alternative cinema that's just different than what the studios are doing and it's a big variety in that category. Everyone always is complaining about the film industry but I think it's important to acknowledge when it's actually a pretty good time when that comes back around. I'd be remiss not to say, "Hey, it's a pretty good era right now for these reasons," and maybe that doesn't last or maybe it does, but I will acknowledge it.

I loved cinema while growing up and, for the longest time, wanted to be a director.

Musicals and horror films can be very non-verbal and very pure cinema with movement. The camera is justified in being a character. It can really move and tell a story, and literally direct you to look here or there.

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.

Movie queens diffuse into Cinema haze, while libertines read pornozines in street cafes.

Cinema has the capacity to be so physiological.

I've seen films that have made as much as $100, $200 million, but they're not films. They're images. They're flashes. They're many beautiful images, lots of things to look at. They capture you. But it's not a film. It's not something that involves you in a story. They go to cinema now to be blown away by the effects.

I love these kind of movies as a kind of cinema-going geek myself. Those characters, you want to be like those characters when you go to the movies. You know, when you see a movie with a guy who's really cool and the killing's slick and easy. I don't know. There's something intoxicating about it.

Cinema is a world of imagination.

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.

The best cinema is about ethics.

Oh how Shakespeare would have loved cinema!

I really wanted to take the viewer to the 'here and now' regarding the exterminations, and communicate directly in a visceral way. The art of cinema can communicate that way, and that's why I wanted to do it that way.

The cinema has the power to make you not feel lonely, even when you are.

How heartening it is to know that Ken Loach is still out there making committed, polemical cinema, so long as you don't have to watch it. Never go near a Ken Loach film unless you're trying to sleep with a socialist. If you are, however, Land And Freedom should do the trick.

I really have problems with horror movies. I don't watch them. It's a feeling I don't want to have in cinema. I'm too reactive. It's too draining to watch that kind of movie.

With cinema, one of the great lies dating back to its origin was "It's just entertainment! It doesn't make any impact" Like the great Samuel Goldwyn said, "If you've got a message, send a telegram."

Modern-day cinema takes the form of a sermon. You don't get to think, you only get to receive information.

I mean, "The Jinx" is an amazing piece of cinema and amazing television moment, it`s rare documentarians can feel the direct impact of their work.

I remember driving around with my parents when I was little and looking out of the window and being very aware that it was the shape of a film screen when you went to the cinema. This was how I first saw the world, framed through a car window.

What I expect of a movie reviewer is that he should love cinema as much as I do.

I think that there's a very lucid side in cinema: entering a theater and seeing the film.

I can see that cinema seems to be finished. Everybody has a bigger screen at home. I'm assuming eventually you won't need a screen at all - these iPhones will just project.

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.

Everything today is such a massive visual show. It's very rare to get a film where the characters are raw and real - and you can take people back to where they are watching live cinema. With character-driven action. Not visual-driven action.

I believe the cinema is one of our principal forms of art. It is an incredibly powerful way to tell uplifitng stories that can move people to cry with joy and inspire them to reach for the stars.

I don't see myself as a crusading feminist filmmaker. Not at all. I have the luxury of coming from New Zealand and I've had moments in my life where being female is considered to be a tremendous advantage - emotionally, career-wise. Personally, I have nothing to prove. But I'm tremendously curious about human nature. Female life is so incredibly underexplored in cinema, so these stories feel very exotic.

I like the cinema of people like Terry Gilliam and Tim Burton. I am not keen on trying to reproduce reality - for that you should do documentaries.

We have a partnership deal with New Line Records, which is part of New Line Cinema, and... I worked on that.

That sort of detailed filmmaking is one, hard to do and not have it be pretentious, and two, have it tell the story, which is what you're taught, that cinema is the language of images and you really should be able to make a film with no dialogue and tell a story.

You know what's it's changed is my appreciate for the art form of making cinema. I don't want to act as much as I want to tell stories. I want to be a part of the whole collective and pull all of the pieces together. That's what I love about directing.

I even see the cinema itself as a woman, with its alternation of light and darkness, of appearing and disappearing images