Quotes About Cinema

MORE CONSISTENTLY THAN EVER I WAS TRYING TO MAKE PEOPLE BELIEVE THAT CINEMA AS AN INSTRUMENT OF ART HAS ITS OWN POSSIBILITIES WHICH ARE EQUAL TO THOSE OF PROSE. I WANTED TO DEMONSTRATE HOW CINEMA IS ABLE TO OBSERVE LIFE, WITHOUT INTERFERING, CRUDELY OR OBVIOUSLY, WITH ITS CONTINUITY. FOR THAT IS WHERE I SEE THE POETIC ESSENCE OF CINEMA.

If there's one thing that can save the novel, it is to make it independent of cinema, to narrate in a way that cinema can never narrate, using to its benefit those particular characteristics which belong to writing.

I'm inspired heavily by film influences - David Lynch's Blue Velvet, Federico Fellini, Alfred Hitchcock, Pedro Almodóvar, and what I see in the cinema - so there is a linking, an interweaving between memory, cinema and contemporary life, which the women in my pictures encapsulate.

American films are the best films. This is a fact. Cinema is - along with Jazz - the great American art form. And cinema in a very real sense created the American identity that has been exported around the world.

There are those who think that Zeffirelli's Hamlet is the way to treat Shakespeare. I think that cinema can handle much more. We somehow expect cinema to provide us with meaning, to console us. But that's not the purpose of art.

I think Hollywood has gone in a disastrous path. It's terrible. The years of cinema that were great were the '30s, '40s, not so much the '50s...but then the foreign films took over and it was a great age of cinema as American directors were influenced by them and that fueled the '50s and '60s and '70s.

There is no border. I'm branding my films as Malay cinema, but it's just about cinema. Everything that I make is about humanity's struggle, so there is no border, really.

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.

There are things that I love in Iranian cinema and things that I don't. In Iranian cinema, you have to use metaphor because you are living under a dictatorship.

My favourite way of watching the cinema is the biggest possible cinema you can find, with the biggest possible screen, and the loudest possible Dolby - but just me. Nobody else.

Jean-Luc Godard said that cinema is the truth 24 frames a second. I think cinema is lies 24 frames a second.

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.

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 also wanted to express the strength of cinema to hide reality, while being entertaining. Cinema can fill in the empty spaces of your life and your loneliness.

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

I've always believed that true cinema is cinema of the imagination.

Since I come from documentary background and my father is a documentary filmmaker, for me the core essence of cinema is it's social statement. It is somewhat similar to the work of a journalist, just on a different level. This is the kind of cinema I enjoy.

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.

I don't think I'm the world's most die-hard sci-fi fan, but I definitely grew up watching 'Star Trek' religiously - all of them: the original, 'Next Generation,' 'Deep Space Nine,' 'Voyager.' I think sci-fi has an important place in the cinema world. Fantasy is a big part of why films actually exist.

Cinema is haute couture or, if that's a little too ambitious, at least it should approach that standard. Pathe Plus is just part of the business. We have to improve all our cinemas. In France, we're not looking to open many more screens, but rather to raise the standards of our current cinemas.

The problem with American cinema is that because you're making films with huge amounts of money you need to hit the lowest common denominator in order to make it back and so therefore you're not allowed to play with moral ambiguities or ask questions.

For me and my films I want my audience to experience cinema in its full glory. It's not just visual, it's audio as well. It's emotional and I want you to be engaged with not just the scene but with the characters.

As soon as I get my car I think I'll be going to the cinema more. Since I don't go very often, there are no films that are a must see at the moment. I usually wait till they come out on DVD.

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'm an idol of cinema? Oh, wow.

Sometimes I have better relationships with my barber then with people who are into cinema from an upper class.

I went to the Tokyo Film Festival in Japan because I love Japanese 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.

Film is something that reaches so many people. How many people are going to go into a gallery? And understand what they're seeing? I think about the guy walking down the street, the guy who drove me here - this guy has the opportunity to go the cinema.

Just telling a story. That's cinema. It's not silent, black and white. It's a simple story that's well made.

Secret Cinema has created a new way of experiencing film. The fusion of film and theatre allows for a much more powerful experience and adds an incredibly unique dimension for the audience. It certainly did for me. I was blown away

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.

Campaign may invite a certain skepticism about democracy, but it will surely restore your faith in cinema verite.

The deeper I went into culture, the more confused I got. So I needed something more real. I said, "Okay, from now on, my country will be cinema."

I would tend to be drawn to independent cinema as a viewer, probably more than the big blockbuster.

Cinema plus Psychoanalysis equals the Science of Ghosts.

I think it’s important that nobody forgets that although Hollywood commercially dominates the world cinema, in fact what comes out of the filmmaking here is only a tiny slice out of the massive amount of operation that goes on around the world.

I think that cinema is a great place to make stories of loneliness. And being Norwegian, I don't want to make the film about loneliness in being out in nature on a mountaintop; it's about being in the cities.

At one point cinema and photography weren't treated as art. Now it's crazy to think they're not. The key question is "What is art today?" The most important artists of the last 20 years are Steve Jobs and Jonathan Ive, because the influence they have had is incredible and they've changed the world. That is art.

To the documentary director the appearance of things and people is only superficial. It is the meaning behind the thing and the significance underlying the person that occupy his attention... Documentary approach to cinema differs from that of story-film not in its disregard for craftsman-ship, but in the purpose to which that craftsmanship is put. Documentary is a trade just as carpentry or pot-making. The pot-maker makes pots, and the documentarian documentaries.

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 think that it's not a bad thing to not be too versed in the vocabulary of cinema, because you start to think that certain things are allowed and not allowed.

I do feel like my music, in some weird way, is probably better suited for cinema than for anything else - I can't really explain, other than I think that music has been mostly inspired often by soundtracks.

I came from a very avant-garde documentary kind of film making world. I like cinema verité, documentaries. I liked non-story, non-character tone poems. And that's the film making that I was interested in.

Stepping into the "shoes" of someone's life other than my own, great movies such as 'Cinema Paradiso,' scenic landscapes, the work of Daniel Day-Lewis, the books of Joel Goldsmith, traveling, doughnuts, ice cream.

To me cinema can be a much more friendly world if there's a lot of things to choose from.

I would not have made any of my films or written scripts such as Taxi Driver had it not been for Ingmar Bergman, What he has left is a legacy greater than any other director.... I think the extraordinary thing that Bergman will be remembered for, other than his body of work, was that he probably did more than anyone to make cinema a medium of personal and introspective value.

I wanted to direct when I was very young. I had no idea of cinema, of who's doing what. That was my first instinct: "Okay, I want to be the boss."