Quotes About Cinema

More than my other films, Uncle Boonmee is very much about cinema, that's also why it's personal. If you care to look, each reel of the film has a different style - acting style, lighting style, or cinematic references - but most of them reflect movies. I think that when you make a film about recollection and death, you have to consider that cinema is also dying - at least this kind of old cinema that nobody makes anymore.

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.

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.

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.

A film in which the speech and sound effects are perfectly synchronized and coincide with their visual image on the screen is absolutely contrary to the aims of cinema. It is a degenerate and misguided attempt to destroy the real use of the film and cannot be accepted as coming within the true boundaries of the cinema.

Never seek financial independence in independent cinema since independent cinema doesn't make money.

I seem to wonder if we can reach some kind of new destination with cinema, or touch upon human existence in a different way to what cinema usually does in its very schematic and sometimes very controlled, plot-oriented ways of thinking. Sometimes I feel like I've found the holy grail, and next week I think it's a complete mistake and I need to try something completely different. It's an ongoing process.

Cinema is all about going back from shadow to light and back and forth: cinema is a place of transgression.

I think that narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verite is film in its purest form.

Napoleon is pure cinema, and cinema was designed for sharing.

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 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!

The cinema industry is competing against everything else people can do on a Friday or Saturday night. If they don't have a good time, you're going to lose them to something else. So much of what we do is trying to make the Alamo experience special.

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."

The beauty of life are women, no one loves them as much as me. I adore them all, the ugly, the beautiful, the cold, the sexy and especially those that are from cinema material, shadow and light.

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

Everything encourages you not to tell stories of gay lives. There is no economy yet for that kind of cinema.

It's true that there are younger people making films, and there are different kinds of films. This has created some attention in what's coming out of Greece, and people like to find a way to name this new ethnic cinema. It's not like there's a movement, or a common philosophy in making these films. They're just things that happened, and now people are paying attention to it.

I love silent cinema but don't hold it sacred. Like any branch of film there are some very boring films alongside the masterpieces.

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.

We have filmmakers who make films with some kind of responsibility and take cinema seriously like Shyam Benegal, Govind Nihalani, Prakash Jha. But now these people also take stars Without stars they cannot work.

I'm curious and you know, I really think cinema is strong medium that allows you to go to so many different mental countries, not just geographical countries. As far as it allows me to express something of my own truth, it's fine for me. I can go to the moon.

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.

Cinema is a medium that can translate ideas. But wood can translate ideas, too. You have wood and then you get a chair. Some ideas are for different things.

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

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.

Sitting in the darkness of the cinema, I got to see another world. This imaginary world was a refuge for many of us. Of course, the films were controlled and censored by the regime. But I still thought, around this time, that maybe making films would be good for me. I thought of expressing myself through this medium, and of doing something for the Kurds. The options were clear: either I'd work as a lawyer under the Baath regime or make movies independently.

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.

Cinema is a matter of what's in the frame and what's out.

Cinema has the capacity to be so physiological.

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.

That love is a conflict seems to me obvious and natural. There isn't a single worthwhile work in world literature based on love that is only about the conquest of happiness, the effort to arrive at what we call love. It's the struggle that has always interested those who produce works of art - literature, cinema or poetry.

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.

You can lose in cinema too if you don't put on a good performance.

Film is not analysis, it is the agitation of mind; cinema comes from the country fair and the circus, not from art and academicism.

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

What works in a story is very different than what works in cinema. For example, dialogue in books: If you translate it too faithfully, it sounds a little stilted, because we often don't speak the way we speak in novels. Oral language is much punchier, shorter sentences.

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.

Cinema has opened a world of possibilities up for me.

The Last Of England works with image and sound, a language which is nearer to poetry than prose. It tells its story quite happily in silent images, in contrast to a word-bound cinema.

Norway is a small country, about half the size of Sweden, but it has a very good film climate because they have municipal cinemas, so even in the smallest towns you have a cinema that shows art house films from all over the world.

So the Lincoln movie gets trashed because Connecticut voted for the amendment - not to mention how the people in Connecticut feel - but there's a lot of that. And I think it precedes from a fundamental misunderstanding of cinema. They are entertainment. And I'd like to say that entertainment isn't a synonym for disposable or mindless or stupid. Hamlet? Pretty entertaining from where I come from.

I still would like you to feel the enthusiasm that all those people felt in the twenties and thirties, that indeed we had discovered, with cinema, the great 20th-century, all-embracing medium.

Television and cinema were all very well, but these stories happened to other people. The stories I found in books happened inside my head. I was, in some way, there. It's the magic of fiction: you take the words and you build them into worlds.

I think that is what you want to do as a cinemagoer - to experience something fully. Some things don't let you experience them fully. It may be your own preordained prejudice where you can't experience them fully. But when you come out of the cinema having felt, thought, and experienced your way through two hours, that is a really cool thing.

The convergence of the Rhone and Saone. Paul Bocuse. The birthplace of cinema. Chateauneuf-du-Pape just a few miles down the road. It does not get much better than Lyon.