Quotes About Cinema

I'm not an American as you know, and to deliver "Jackie" today in the United States and understanding the role of women in society is changing and I hope it just gets better and better - and also in cinema. There's very few interesting roles today for women in cinema. It's getting better and stronger and, and I'm proud to be part of that.

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.

I was seduced by the nouvelle vague, because it was really reinventing everything. And the Italian cinema that one would see in the theaters in the late '50s, early '60s was Italian comedy, Italian style, which, to me, was like the end of neo-realism. I think cinema all over the world was influenced by it, which was Italy finding its freedom at the end of fascism, the end of the Nazi invasion. It was a kind of incredible energy. Then, late '50s, early '60s, the neo-realism lost its great energy and became comedy.

The movies that I do are in love with cinema, and I try to show that I am in love with cinema. I want them to be, in other ways, drinking from other sources.

Cinema d'auteur, cinema about people, about emotions. About la difficulté d'être, the difficulty of being, existential problems. That's what the nouvelle vague is. The early '60s was all about that.

I'm not hoping to see that day but I know that my cinema will reach Filipinos. I know that they will embrace it one day. It will happen. I'm very sure of that. I still have faith in cinema. I still believe it can affect change.

I was always intrigued with European cinema, and hated most American cinema. I didn't like the one, two, three - boom! style, with a neat and tidy ending. That was never my scene.

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 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.

The cinema is not an art which films life: the cinema is something between art and life.

What is saved in the cinema when it achieves art is a spontaneous continuity with all mankind. It is not an art of the princes or the bourgeoisie. It is popular and vagrant. In the sky of the cinema people learn what they might have been and discover what belongs to them apart from their single lives.

I seldom feel comfortable in a theatre. I always feel like I own a cinema. I feel equally happy in an empty one as a full one. Probably happier in an empty one!

Yes, a lot of European cinema and a lot of independent films and art-house stuff. She is a photographer. She is a visual artist and photographer and my dad is, too. My mum, I must credit for showing me good films. With my career, my parents were great and though they were a little wary, maybe, of the acting ambitions they have always been supportive.

Independent means one thing to me: It means that regardless of the source of financing, the director's voice is extremely present. It's such a pretentious term, but it's auteurist cinema. Director-driven, personal, auteurist... Whatever word you want. It's where you feel the director, not a machine, at work. It doesn't matter where the money comes from. It matters how much freedom the director has to work with his or her team. That's how I personally define independent movies.

The test for me, when I read other people's scripts, is whether I feel like there's something about me that is the best person to tell this story. I have a pretty high bar for myself. There's a lot of scripts that I read and think, "Oh, this is great, but I think there are 50 other directors who could bring this to the cinema."

I'm an idol of cinema? Oh, wow.

Frankly speaking, I hate comparisons. Two individuals are doing two different films, playing two different characters: how can you compare them? It is not fair to get into ratings. It really doesn't matter what I think about other actresses; what matters is what the directors think of them when they are casting them in a project, because I think it's the director who's behind a successful piece 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.

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 look on cinema as a pulpit, and use it as a propagandist.

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.

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 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.

Look, I wasn't saying the Beatles are better than God or Jesus. I said 'Beatles' because it's easy for me to talk about Beatles. I could have said TV or the cinema, motor cars or anything popular and I would have gotten away with it.

Hollwood creates useful entertainment. There are millions of people on earth who need distraction and American cinema fulfills that function.

Growing up in Hollywood, like I did, I have a passion and a love for the movies, so I go to the cinema all the time.

I'd like to be for cinema what Shakespeare was for theatre, Marx for politics and Freud for psychology: someone after whom nothing is as it used to be.

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.

Cinema is a territory. It exists outside of movies. It's a place I live in. It's a way of seeing things, of experiencing life. But making films, that's supposed to be a profession.

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 the problem with the cinema currently is that so much of the money that goes movies that offer a certain kind of repetition.

The most important question in American cinema, I've learned, is 'When is lunch?'

I've worked with a lot great directors who have huge resumes, but I'm really trying to be active in my career in supporting the new generation of cinema. I like taking some time to try to support and be a part of that.

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.

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.

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.

Palestine is an extremely familiar place to me. Someone like me who lives everywhere in the world cannot be contained. If my hope and ambitions are in the right place, you can judge that in my films. I want to make films that diffuse any local notion. Cinema criss-crosses borders and check points. If the film is good, then it's universal.

Is the cinema more important than life?

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

Studio movies are looking more like independent movies and independent movies are looking more like studio movies, and I think cinema is better now because of it.

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.

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.

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.

People go to the cinema to be moved; they wanna laugh, they wanna cry, they wanna feel something deeply, especially if they're not feeling deeply in their own lives.

The pay window will be: you can choose how and when you see, whether you see it on Comcast or Warner's Cable delivery system or Sky in the UK or you can buy it through Apple, or you might even buy it directly from the studio's site. Who knows? But that will be it. You'll go to the cinema and you'll find a way of digitally interacting with the piece; you'll either buy it or rent it or whatever.

We really are living in the era that all this sci-fi literature and cinema was centered around, but it's not anything like what we envisioned it to be. It's almost like there's too much choice.

These commercials, I directed them all from inside the tracking vehicle, so I was traveling about 85mph most of the time, so there wasn't really anyone sitting beside me other than the driver. But, you know, yeah the agency is there and VW is there, which is- they're paying for it all and also because the agency created the boards, they want to make sure that you're not going off the rails in executing it. And also they can help, because they- it's a very different thing to cinema.

There's not much of a difference shooting something for TV and shooting something for film; the difference is film is in a cinema and TV is in your home.