Quotes About Cinema

As the acting class was going on, I just realized I just knew more about cinema than the other people in the class. I cared about cinema and they cared about themselves. But two, was actually at a certain point I just realized that I love movies too much to simply appear in them. I wanted the movies to be my movies.

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.

I'm not coming from film school, I learned cinema in the cinema watching films.

I think that cinema and television have nothing in common. There is a breaking point between photography and cinema on the one hand and television and virtual reality on the other hand.

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

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.

Cinema is a technologically mediated dreamspace, a way to access, a portal to the numinous that unfolded in the fourth dimension, so cinema became sort of a waking dream where we can travel in space and time, where we can travel in mind. This became more than virtual reality, this became a real virtuality.

There are large numbers of people in India below the poverty line, there are large numbers of people who lead a meager existence. They want to find a little escape from the hardships of life, and come and watch something colorful and exciting and musical. Indian cinema provides that. So yes, the content of our television and our cinema is escapist in nature because we are there to provide entertainment.

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.

American commercial cinema has long been dominated by men, but I don’t think there has ever been another time when women have been as underrepresented on screen as they are now. The biggest problem isn’t genuinely independent cinema, where lower budgets mean more opportunities for women in front of and behind the camera. The problem is the six major studios that dominate the box office, the entertainment chatter and the popular imagination. Their refusal to hire more female directors is immoral, maybe illegal, and has helped create and sustain a representational ghetto for women.

For a long time I have compared cinema to music, I think cinema has a lot to do with the rhythm of music.

I think that what I learned then, I didn't know I was learning. I just knew that I was very privileged to see somebody who was a writer, a great poet, and very smart-faced. Suddenly Pasolini becomes a director, so he has to invent cinema. It was like watching the invention of cinema. But I found out that Pasolini taught me a lot. It was, especially, the kind of respect that he had for reality. He had kind of epiphanies in his movies, like when a moment becomes full of grace, and it is like as if it was the most important moment in the life of a character.

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

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.

We have the talent, just not the money and not the audience. People in France don't really like fantasy. You need to go to Spain, England and Germany for that. Many of the people from my crew come either from Spain or England. But I hope to be able to work with them again and I wish to create European cinema on that scale. It could happen and attitudes may be changing. Animated fantasy movie Despicable Me was made entirely in France, so there is the talent here and now maybe the desire too.

The idea that boxing lends itself to cinema so well is because it's usually a morality play - good against evil, insecurity and triumph, fear strikes out, so the audience can really get drawn into the drama of it. Also, it was sensual and very primal. I think subliminaly we do two things - life is a fight, life is a struggle and we understand that from our early, early, early ancestors, and life is a race.

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.

I like watching film, I go to the cinema, but a lot of times I go to see kids' films.

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.

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.

If a chemical drug like Viagra is accepted by society and by the world to ignite desire, then what is the problem with my audio-visual drug called cinema which ignites desire? Both are basically doing the same thing!

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.

Cinema without risk is like having no sex and expecting to have a baby.

Even the great bad guys in cinema history, they're likable.

The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy.

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.

To AMC's credit, I think what they saw was the show doesn't exist in the marketplace. They knew that there was a hunger for a martial arts show. They also knew that you have this strong tradition of martial arts cinema, so even though it's not branded by a novel or a comic book or an old movie or something, we do have the genre itself, which people love.

There will be a competition among critics for the best Paris Hilton insult. Here's my first: Her attention span is so short that she can't even maintain her concentration while running away from a psycho... Maybe the ultimate insult is that she makes her co-star Elisha Cuthbert seem, by comparison, the sexiest and most interesting actress in modern cinema.

Previously the same Polish audiences would have been pressured into seeing cinema made for adults, films made by us about those spheres of life that were significant for us and which should be significant for our society.

Cinema is consistently making a claim to particular memories, histories, ways of life, identities, and values that always presuppose some notion of difference, community, and the future. Given that films both reflect and shape public culture, they cannot be defined exclusively through a notion of artistic freedom and autonomy that removes them from any form of critical accountability.

If I'm in theatre, cinema doesn't even cross my mind. Similarly when I'm making a film, theatre doesn't cross my mind.

Sometimes I go to the cinema and I see a movie where the directors or the filmmakers are telling me what to think, what to feel. They are giving me all the answers, and I'm like, "What am I doing here?" I try to have an active audience that are thinking and feeling for themselves.

In truth, the cinema as a delivery system obviously has its days numbered. And that's not a bad thing. When you can buy any book in the world on your iPad, or off Amazon, you don't go the public library. The public library becomes about homeless gentlemen sleeping in chairs.

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.

In football you have an adversary; in cinema that adversary is yourself.

I'm one of the few reading and thinking people who loves Las Vegas for the vulgarity and omnipresence of the dream. The collective dream. There's something enormous about it. Let me say one thing: Las Vegas and cinema have similar roots. The country fair. The magician at the country fair. The vulgarity of the country fair.

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?

We wanted to not necessarily tell the story of the video or the song, but create an ambience. And I think now, I think that's gone now. There's nothing wrong with that. But I think we were all trying to make mini feature films. I remember when we were making the Duran videos, I would crop the top and bottom of the screen with black. So that it looked more like cinema.

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.

I am very sensitive to all form of music, painting, sculpting, dancing, and I love cinema also. For example if I look at the work of the dancer Mikhail Baryshnikov, who happens to be a friend of mine, everything he does is inspiring to me.

The lamentable expression: 'But it was only a dream", the increasing use of which - among others in the domain of the cinema - has contributed not a little to encourage such hypocrisy, has for a long while ceased to merit discussion.

David Fincher is probably the best comprehensive director in terms of being a manger of a process that must drive forward. He has such confident command of cinema language and visual language and script and performance. He knows more about f-stops than any cameraman, he knows more about lighting than any gaffer, he is a wonderful writer, and he can give you a good line reading. Under pressure, he is the kind of guy who you will just dive in with and trust and follow because his vision is so intense.

Mainstream cinema raises questions only to immediately provide an answer to them, so they can send the spectator home reassured. If we actually had those answers, then society would appear very different from what it is.

[The director] has to, I feel, be one step back, not only from cinema, but also from politics and all these issues in order to tell and depict the situation that spreads to people.

For me, the most important word in cinema is the word freedom. For example, in Europe, we've got freedom, we've got the final cut and that's something which is marvellous.

Music has a role, fashion has a role, cinema has a role, intellectuals have a role, parliamentarians, politicians, diplomats - all of it.

Everything that you could think about in life, or experience, or be interested in, theoretically should be expressed or dealt with in cinema. But the way typical narratives are set up, there's no room for philosophy, because it's just digressive material. It's not advancing the plot, so there's no place for it. It's the kind of stuff you would cut out, and that you shouldn't have put in there to begin with.