Cinema Quotes
Most Famous Cinema Quotes of All Time!
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I didn't have a lot of exposure to films as a kid, and I never went to the cinema. I had a single mom who just planted me in front of the television. But while growing up, I lived in my own fantasy world.
I loved going to the movies, especially when I was a teenager in the seventies. How couldn't you in what was perhaps the greatest era of auteur cinema?
People buy box sets, and they sit for a whole weekend with a computer on their lap in bed, and they watch two seasons back-to-back of a show. They are invested in the person within that arc or the dynamics of those people - the relationships - and it doesn't matter to them if they're watching it on an iPhone or a cinema screen.
Murnau is neck to neck with Bergman as my favorite director. He's responsible for some of the best images in cinema of all time, from 'Nosferatu' to 'Faust' to 'Sunset.'
Cinema, radio, television, magazines are a school of inattention: people look without seeing, listen in without hearing.
One of the powerful temptations is that of the cinema palace. The cinema has undoubtedly an enormous attraction for boys, and people are constantly cudgelling their brains how to stop it. But it is one of those things which would be very difficult to stop even if it were altogether desirable.
If a violent act towards a woman takes place, and the inspiration for that act is violence in cinema, the inspiration for that act would have come from somewhere else if movies didn't exist.
Cinema has only been around for about 100 years. Has all of the world's violence towards women taken place only within the past 100 years?
Well, you cannot think of cinema now, and you cannot think of cinema in the UK and not place Chaplin in the most extraordinary elevated context, if there can be such a thing, in that he was a genius, he was unique.
Well, I think In Love and War, which had a wonderful performance by Sandy, Sandra Bullock, who the authorities and, the supposed authorities, in cinema didn't want to know about.
'E.T.' depended absolutely on the concept of cinema, and I think that Steven Spielberg, who I'm very fond of, is a genius.
Elaine and I got married in summer 1979, we went on our honeymoon and came back for the premiere of 'Scum.' All of sudden my face was on billboards in Leicester Square and people were crowding outside the cinema, going mad about the film. It was a complete shock.
We see many posters and standees at cinema halls, and some catch attention. But these posters are soon forgotten. Taking a picture with the actors, enabled by AR, helps record a memory.
'Baahubali' has done to Indian cinema what 'Star Wars' has done to America.
'Baahubali' was really the film that broke most barriers of what regional cinema can do nationally.
I have grown up watching franchise-based movies like 'Star Wars' and read 'Amar Chitra Katha' and had aspired to do cinema like that.
Cinema plays an important role in uniting the entire nation as a single unit.
I don't think I can speak of the achievements of Indian cinema because it's so large next to me. It's not stopping. It's ever-growing. We are going towards the right direction. We are evolving as a filmmaking industry as actors, directors, producers, singers, musicians. Everybody just pushing the boundaries.
I've seen 'Legend'. I like a different kind of cinema, but when done with conviction, anything looks good.
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.
After acting for four years, in five languages, theatre became my stepping stone to TV and cinema.
While acting with Amitabh Bachchan, the legend of Hindi cinema, and superstars like Shah Rukh Khan, Ajay Devgn and Akshay Kumar, I observed how they interpret cinema and make it an experience to cherish for their audiences.
Maybe actors are more passionate about cinema than actresses. Many heroines today seem unable to look beyond glamour.
I would like to be part of sensible cinema, irrespective of whether it is a commercial or niche film, but it doesn't always pan out like that.
'Alemaari' is an experimental cinema of sorts. If audiences don't understand it, the film will fall flat.
I lived within walking distance of Harvard Square, and that's where I discovered my love of cinema. I saw a lot of foreign and independent films there.
It's a standard staple in Japanese cinema to cut somebody's arm off and have red water hoses for veins, spraying blood everywhere.
I like it when somebody tells me a story, and I actually really feel that that's becoming like a lost art in American cinema.
I live cinema and passionately love music, and my efforts in both these crafts are unfolding.
I love dabbling in different genres, and I like being good at different genres of cinema.
I've always said that we must do local cinema but not lose sight of national appeal. That's the way New Theatres, L V Prasad, Gemini Studios operated.
For me, 'Shanghai' is beyond language. For me, it's good cinema. The language is incidental.
The Prosenjit-Rituparna jodi is a huge contribution to Bengali cinema as we have delivered several hits.
There is a host of directors - Sujoy Ghosh, Neeraj Pandey, Ashutosh Gowariker, Madhur Bhandarkar, Mani Ratnam and so on - who make some great cinema. I would like to work with them all.
Cinematically, anything like 'Khawto' in Bengali cinema hasn't happened. Yes, you get such films in Hollywood, a few in Bombay. In Bengali literature, you get such stories in the works of Samaresh Basu and Buddhadeb Guha.
Since 80% of my career has been devoted to successful commercial cinema, I have always been told that I do not know how to act.
Earlier, people used to say no to regional films, but now people all over the world have started watching Bengali cinema.
I watch all kinds of Indian cinema. There are many good films in Bengali, Marathi and Malayalam.
I do not want to be a part of Hindi cinema's rat race. But yes, if I get offers and characters which I feel would suit me as well as make some difference to me, I will do a Hindi film.
Bengal has always produced good cinema, be it Satyajit Ray or Ritwik Ghatak.
The biggest challenge Malayalam cinema faces is territorial. We operate within a small territory in Kerala, and the Malayalam diaspora across the world in comparative terms is quite small. But we have world-class talent in terms of technicians, actors, and writers.
I have always believed that facilitating good, unusual content should be one of my prerogatives as someone who has spent half his life in cinema.
I don't think anyone can replace the brand 'Bachchan.' You can call him a brand. But for me, he defines Indian cinema when it comes to actors.
I was just lucky to be a part of this phenomenon of Indian cinema. Perhaps no other film can ever match the magic and awe of 'Baahubali.'
Indian cinema is entertaining, and what I love most about it is the songs and dances in the films.
National film industries tend to move in cycles. In Australia right now, we're on a high, a feeling of potential, which as yet shows no sign of flagging. But the word 'industry' is misleading. A small national cinema has no industry in the Hollywood sense.
My ambition in the cinema, since I came across it, was to play Chance... I have realized that ambition, and so I have no more.
You can be far more challenging, articulate and intelligent writing for television than you can writing for the cinema.
In terms of popular cinema, 'One Flew Over the Cuckoo's Nest' is as near perfection as I can think of.
I guess I'm part of the art house, but we really have to shake up our ideas, because we're kind of self-parodying ourselves. We go places commercial cinema doesn't go, but sometimes it's to our own detriment.
I don't believe in the deplorable notion of realism in the cinema: you can over-reach it, and it becomes as false as convention.
I'm so happy when someone does something original, and there's no focus group or planning committee. If the cinema doesn't get an injection of that once in a while, we're in trouble.
I think 'Lost' didn't invent the flashback, obviously. It's been a cinematic tool. It's been around almost as long as cinema has.
I was reared on American TV and films. There was a huge sense of occasion about going to the cinema in Moy in the late 1950s and early '60s, and I absolutely loved those Hollywood sword-and-sandal movies like Ben-Hur and the dime-a-dozen cowboy-and-Indian films, as we then referred to them.
There's something magical about film, it's the ultimate for me, because it's kind of permanent - inasmuch as anything is. When I went to see Buster Keaton when I was about 14 and I came out of the cinema having really laughed at this film which had been made 50 years before, I thought: That's immortality. It's fantastic.
When I discovered European filmmakers, it affected me so deeply. It redefined what cinema could be. I mean, 'Blow-Up' ends with a dead body and mimes playing tennis. What?
Film used to have to be niche and find its audience in a little art house cinema, and TV had to work for everybody. And now it's kind of flipped where there's so many platforms that TV can be incredibly niche.
I like cinema. I am very fond of it. But from time to time I feel like having some time on my own.
What I expect of a movie reviewer is that he should love cinema as much as I do.
In case you don't know this, we're not in the '90s anymore. Indie cinema does not reign.
Diversity is strength. Our cinema and our art forms need to diversify so that it tells all stories, all perspectives.
We need women in cinema to know first that they have a safe space to open up about their struggles without being judged and marginalised.
I believe that cinema is not only an artistic industry, but there is also a political activity.
I love masala films, and as an audience, I like my dose of commercial cinema.
Certain subjects may no longer be taboo in cinema. But there are ways to treat them that still create shock.
I've always liked the idea of merging esoteric art cinema with down-and-dirty exploitation films.
Cinema affects everything, from the way I get dressed to how I build my stages.
My fascination is not for cinema; it's for human nature and human beings because I find it quite difficult being one at times.
Steve Buscemi is the little black dress of cinema, appropriate for any occasion.
The notion of directing a film is the invention of critics - the whole eloquence of cinema is achieved in the editing room.
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.
I prefer working in good cinema, wherever it is. I like subjects that have a universal appeal.
Parallel cinema has not made an effort to communicate in a language the other person understands.
My cinema is of a different kind: give me a good meaty role instead of two or three songs and running around in foreign locations wearing itsy-bitsy costumes. I'm clear and focussed about my priorities.
My mother and stepfather were documentary filmmakers and, of course, had a very healthy Scandinavian mentality. When it came to cinema, my mother was very obsessed with the French New Wave. That was her generation.
In L.A., cinema and television might be seen as more interesting places for architecture than ever before.
I'm glad that cinema is catching up to what television has known for a while: That three-dimensional, complex women get an audience engaged as much as the men.
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