Quotes About Cinema

My life, my reading, everything about me revolves around the cinema. So for me, cinema is life, and vice-versa.

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.

The movies I like are always movies where cinema is reinvented like if it was the beginning of cinema.

Just look at the cinema itself: It's comprised of lots of movies about graphic novels, and if you're not 20 years old and wearing a cape and a mask and white, you're out of business. Today's cinema is a proliferation of comedies, which are in some ways creating caricature images. They're one-dimensional.

It is my first preference to do films with social significance. Art cinema has given me credibility and status as an actor, but commercial cinema has given me a comfortable living.

Cinema returns us to anima, religion of matter, which gives each thing its special divinity and sees gods in all things and beings. Cinema, heir of alchemy, last of an erotic science.

I'm working in a form of cinema that can be described, and has been described, as a diaristic form of cinema. In other words, with material from my own life. I walk through life with my camera, and occasionally I film. I never think about scripts, never think about films, making films.

Politics is different than movies. Politics are controlled by leaders. Leaders of every country have different interests. And they try to explain to their people why they should take one side or the other side. But in the movie its doing the opposite. It allows you to have a Universal Experience. You don't watch it as politics but as a movie. You don't have different reactions all over. It's so universal a language. It's not a political language serving a political agenda. The language of cinema is a world language. With the Hollywood movie, it brings about the same reaction wherever it goes.

A literary work can only be received through symbols, through concepts - for that is what words are; but cinema, like music, allows for utterly direct, emotional, sensuous perception of the work.

I became a director just for the love of movies, because of the power of cinema.

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.

My life is existing. Cinema is certainly not my life

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.

I am still associated with a heroic period in French cinema, and my name remains linked to this period.

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

I'm an eclectic and avid filmgoer. I try to see everything from romantic comedies to blockbusters to art house films, world cinema and documentaries.

An awful lot of filmmaking and playmaking is taken over by marketers and publicists, who set about to tell people what to think. And people feel safer that way. But it's not safe, and the whole wonderful thing that cinema and filmmakers can contribute is to go into the not-safe land of real life.

Everybody has something that chews them up and, for me, that thing was always loneliness. The cinema has the power to make you not feel lonely, even when you are.

I think it's restrictive to typecast myself as a novelist because I enjoy other forms of expression. I love literature and I love cinema.

We've got the prettiest girls in the world here in Los Angeles and there's a great music scene. And I learned what I learned about cinema here in Los Angeles so it's always been really important to me as a city to live in and I love making movies about it.

There is no border in my films. You can see yourself in these stories. This is the greatest thing about the power of cinema. It's very present. It's all there. You can't escape it.

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'm a big fan of British cinema; I think we make some unbelievably brilliant films, but they can quite often have a dark feel.

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.

I loved cinema from a very young age. I was also obsessed with Hitchcock and actresses like Kim Novak in Vertigo. They all played heroines and were strong, powerful women, yet they were very feminine.

But Hitler didn't strive for the annihilation of the Jews - he stressed that fact in public life and in the newspapers. Hitler merely said at the beginning that Jewish influence was too great, that of all the lawyers in Berlin, eighty percent were Jewish. Hitler thought that a small percentage of the people, the Jews, should not be allowed to control the theater, cinema, radio, et cetera.

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.

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.

The cinema is there to heighten the imagination; I have always tried to make sure it does so.

Cinema is the greatest mirror of humanity's struggle. You see this alternative world, but you're part of it. Everybody is part of it. This is our world.

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.

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

There is this miraculous thing I heard Hugh Grant talking about - the thing about screen acting is that you can read people's thoughts. You are trying to register something inside and usually the eyes in cinema are where you will register that.

There's a lot of downsides to social media, but one of the nice things is that you can cut through all the BS and go straight to the person and ask them directly. I think that's a wonderful thing. I love talking to people who are true fans or who have a true love of cinema, and so if I can talk to them directly, great.

I think film is a world of directors. Theater is a world of actors. Or, theater is for actors as cinema is for directors. I started in theater. Filming is as complete as directing film. In theater, you are there, you have a character, you have a play, you have a light, you have a set, you have an audience, and you're in control, and every night is different depending on you and the relationship with the other actors. It's as simple as that. So, you are given all the tools.

At a very young age I was allowed to go into the cinema and watch adult films.

All the people I've met, many outside of cinema, knew everything perfectly about one thing or one subject or one area.

The truth is often terrifying, which I think is one of the motifs of Larry and Andrew's cinema. The cost of knowledge is an important theme. In the second and third films, they explore the consequences of Neo's choice to know the truth. It's a beautiful, beautiful story.

You become a film critic because you're interested in film. I don't know whether knowing so much about cinema leads you to make better films, but it certainly can't hurt.

I think that cinema has always progressed through exchanges.

Relating a person to the whole world: that is the meaning of 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?

Everybody else, they're wonderful, but [Robert] Duvall sets the tone for all of cinema acting. So just to be in his space was amazing.

Jeff always says, "In the cinema, everybody goes to sci-fi. Those are the biggest movies. But, in television, nobody wants to touch it with a barge pole." It's strange. I think it's because maybe there's a legacy of television shows that depicted sci-fi in a certain way that turns off a lot of viewers, so maybe there's a negative connotation.

I remember queuing around the block in Sheffield when I was growing up. At that time, going to the cinema was really something special - there was something about the style of the real thing that is immeasurable nicer than multiplexes.

Just look at the history of cinema. The most reproduced male character is probably the hero and the most reproduced female character is probably the sex object. I think those stereotypes have been reproduced over and over again. It also changes our expectations when it comes to a situation like this in real life.

I'm under the impression that this notion of decency is disappearing from our society where conflicts are made worse on cinema and on television, where people are nasty and cruel on the Internet and where, in general, everybody seems to be very angry.

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.