Cinema Quotes
Most Famous Cinema Quotes of All Time!
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I was lucky to land up in Mumbai when serious cinema was just beginning to flower.
Cinema is not only about making people dream. It's about changing things and making people think.
I was in jail four and a half years. When I came out, I continued the same struggle against injustice, but instead of using weapons, I began to use art and cinema.
Because there is so little room for expression otherwise, a lot of people love cinema because they find it a way of expressing themselves.
For seven years, I made films in the cinema verite tradition - photographing what was happening without manipulating it. Then I realised I wanted to make things happen for myself, through feature films.
I came from the school of cinema verite documentaries, which was: Do not manipulate reality as it was happening but create a narrative in the editing room.
I do not have friends and network with the commercial cinema world. In every business, the network is important.
I feel very much ideologically, politically if you like, and emotionally part of the European cinema.
I'm a huge fan of world cinema, because each country uses cinema in a very individual way.
My career in the movie business began in Hong Kong, my heart has always been tied to Asia, and it is immensely gratifying to see international recognition for Asian cinema as a whole.
My mother is a very big cinema buff, so as a kid, we watched a lot of Indian and Malay films.
During the Sixties, the Americans thought I was the greatest thing in the history of cinema.
There's still a 1950s view of cinema, that there's one audience and they all want to see the same thing.
I try to get closer to reality, to get close to the contradictions. The cinema world can be a real world rather than a dream world.
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.
Movie acting is about covering the machinery. Stage acting is about exposing the machinery. In cinema, you should think the actor is playing himself, if he's that good. It looks very easy. It should. But it's not, I assure you.
My mom used to have a lot of European cinema playing in the house, so I'd catch bits and pieces of films.
When you're working in cinema, you often have a very, very compressed schedule - very few weeks to just kind of go through that whole process of reflection and refining - and it has to be done.
When I got the call about 'Arrival,' I was doubtful because the piece had had a life on cinema already, and we were getting to the point where the original context was sort of lost, and I didn't want that to happen. On the other hand, 'Arrival' itself is a political film because it's about unification and getting beyond boundaries.
Some months ago, while I was preparing a new work, I told a young cinema executive my intention of including in a soundtrack two themes from Bach. But when he asked me which has been the last hit from that Bach?, then I knew that I had no longer place in cinema.
I turn a lot of stuff down - big, big movies, the kind I wouldn't want to go to the cinema to see.
One of the reasons I do like 'Cult' is that it plays along the same vibe as the movie 'Seven,' which I absolutely love. There was a period of cinema in the mid-'90s that I was a huge fan of, with 'Heat' and 'Seven' and the Tarantino era. If I've ever been fanatical, it was about those films, back in the day.
When I go to a film, you're taking it easy and you let things wash over you. That's what cinema's all about. You get involved in a world that's being created in front of you.
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!
Very broadly, literature concerns itself with the internal, cinema with the external.
In 2008, A.J. Schnack recruited Thom Powers to start the Cinema Eye Honors to recognize the artistry and craft that go into making documentary films.
The first book I remember loving was 'Grug and the Big Red Apple.' The first film I saw in the cinema was 'Grease.'
Most adaptations of plays I hate, because they don't envision something as cinema at all, you know?
There are things that I love in Iranian cinema and things that I don't. In Iranian cinema, you have to use metaphor because you are living under a dictatorship.
I think cinema is closer to allegories than to reality. It's closer to our dreams.
I don't know about the whole song-and-dance thing. But if India will have me, the independent cinema scene there is something I'm really interested in.
I grew up on the commercial film format. I have grown up all my life watching films and they have all been mainstream commercial cinema.
I have always been clear that cinema is not my priority and that my family is.
There were many films made for both cinema and television, and in general I don't connect them very much with our books. I have one favorite: 'The Man on the Roof' by director Bo Widerberg, which was based on 'The Abominable Man.'
I've given 'Bin Roye' everything, and I'm hoping that people enjoy something different coming from Pakistani cinema.
Filmmaking has always involved pairs: a director coupled with a producer, a director alongside an editor... The notion of couples is not foreign to cinema.
I'm one of those directors who read reviews, even if they're bad, because I started as a film critic as a cinema student. I indulge in the art of criticism in general.
Everything that goes outside the rules of Italian cinema has always been cursed.
I'm a bit old-fashioned. I like the idea of going to the cinema and then an Italian restaurant.
French cinema has always been very interesting, and it's still very powerful. I think it goes to show that it's great to still have a cinema that doesn't try to emulate, for example, American cinema.
When I was in elementary school, I watched 'Cinema Paradiso' 22 times and memorized the dialogue. In the movie, everyone had a place, even the bum who thought he owned the piazza. Eccentricities were celebrated, and no one was isolated.
The Indian film industry is very, very vibrant. It is a mix like it is in Hollywood - there is a lot of highly commercial cinema.
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.
I ended up being exposed to cinema that a lot of other kids wouldn't have been exposed to.
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.
I come from an everyday middle class family in India. The film industry reached us only through our television sets and cinema halls.
'Menace II Society' itself was a groundbreaking film. It's definitely going to go in the vaults of classics in all of cinema. The Hughes Brothers created an incredible project. Just gave the world something a little different than what we had seen in previous films in that same genre.
I love meeting up with friends and just doing 'normal' stuff like going to the cinema.
The King and Queen made the rounds after the film. We were told how we were to respond, and we were in a semi circle in the lounge area of the cinema, they came around after the King, the Queen and both Princesses.
The cinema occupies an important place in the overall development of art and literature.
I've fallen out very badly with some of the subjects I've interviewed, because they see their lives a certain way; to step into a cinema and see your life depicted in another way can come as a terrible shock.
I work for the public, for the people who are paying to go to the cinema, rather than for the critics.
Somebody said that part of my reaction to British cinema is actually, paradoxically, a patriotic one. I'm so disappointed that we're not better.
The cinema is there to heighten the imagination; I have always tried to make sure it does so.
The beauty of cinema is that it can do some things that novels just can't.
The girls who come into Tamil cinema today are educated and from well-to-do families. Unlike the actresses of my generation, they do not need cinema for survival. We cannot write a small role - dead cast, as I call it - and expect them to be excited.
Cinema is a visual medium one has to communicate through visuals, and therefore, dialogues should be less.
As a principle, I will never react to film criticisms. As long as they are part of film fraternity, whatever they say will be beneficial to cinema.
I'm an international actor, but at the same time, I'm also a Bollywood actor, even though most of my career has been abroad. However, I've always kept in touch with Hindi cinema.
It is important that alongside the blockbusters there are stories that can inspire and audiences can experience together in the cinema.
I'm always up for cinema, and then you hear that, actually, the location is in a very cold place with all the attendant discomforts, and TV is much cosier and warmer.
Cinema and, most of all, films have changed my life much more than theatre or television. And that is the reason why I'm an actress.
Agnes Varda changed my view of cinema; she directs from an artistic point of view, and a film is most of all the expression of an artistic director. I learnt to enter the world and the imagination of a director.
I'm an optimist - that's why I try to invent different systems; otherwise, I may as well stop right now. Sometimes I get the feeling the French cinema holds on tightly to what exists already.
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.
For me, cinema is very important. I grew up with television; then, as a teenager, you discover cinema.
Even in the realest American cinema that I see, there's still not that sense that this is reality. There's still that sense that you are watching a movie. And hopefully, if we did get our jobs right, that sense disappears when you watch this movie.
At Harvard, direct cinema was the core of the film department, and most of the students were trying to make socially conscious works, but I was trying to combine fiction and non-fiction to show how our seemingly factual world is constituted through fantasy and stories.
I don't drink in the cinema because I have a bladder the size of a hummingbird.
One of the things I love about working with my brother is that there's a commitment there - an unwavering commitment. From our basement in Illinois when I was three years old to Iceland on a frozen glacier with Matthew McConaughey and Matt Damon in spacesuits - there's a commitment to the pure spectacle, the pure cinema of it.
In narrative cinema, a certain terminology has already been established: 'film noir,' 'Western,' even 'Spaghetti Western.' When we say 'film noir' we know what we are talking about. But in non-narrative cinema, we are a little bit lost. So sometimes, the only way to make us understand what we are talking about is to use the term 'avant-garde.'
Video games are the first new artistic medium since television, but they are more different from television than television was from cinema; they are the newest new thing since the arrival of the movies just over a century ago.
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.
I think my dyslexia was a vital part of my development because my inability to read and write meant that I had to find knowledge elsewhere so I looked to the cinema.
We grew up near a cinematheque in Cleveland, so we were very influenced by international cinema, the French New Wave, Italian neo-realists.
I'd wanted to be a writer and when I came back to New York worked as a musician too, but I found my writing starting to get more and more referential to cinema.
I think cinema should provoke thoughts, sure, but using it as I soapbox I think is the wrong place. I never want to be part of something like that, where there's an agenda there that's not about telling a story, where its someone getting on a soapbox and preaching their own beliefs onto somebody.
I started out with V Shantaram. But my favourite director has been Gulzar, with whom I did intelligent cinema in movies like 'Khushboo,' 'Kinara' and 'Parichay.'
The big French movie distributors are the Trojan horse of the American cinema.
I so hate the term Bollywood. I know it's become synonymous with the industry but really we are 'Indian cinema.'
Song, dance and cinema are so deeply within the Indian culture and with so many cultures incorporating their elements too, it has become a wonderful collage.
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