Cinema Quotes
Most Famous Cinema Quotes of All Time!
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I don't want to be typecast as a heroine who does a certain kind of cinema, which is why I experiment with the types of films that I do. But yes, I won't deny that romantic love stories or romantic comedies are what I enjoy doing the most, because as an audience those are the kind of films that I like watching.
I've not really watched too many English films. I've grown up watching Indian cinema, mostly.
I'm not naive enough to pretend that on its own cinema can capture the very soul of significant social and cultural problems.
I truly believe in cinema's potential for cultural impact. I have a clear idea what I want to do - to enrich people's lives.
There are some stories - not even stories, some feelings - that you can't accomplish in cinema without using celluloid.
Every viewer is going to get a different thing. That's the thing about painting, photography, cinema.
You get a painting idea, and you go do that. You get a cinema idea, and you go in to do that. The difference is, even though the paintings might take some time to make, with cinema you are booked for a year and a half, minimum.
I think part of the reason ideas haven't come in is that the world of cinema is changing so drastically, and in a weird way, feature films I think have become cheap. Everything is kind of throwaway. It's experienced and then forgotten.
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.
A lot of cinema is about the game of authenticity - do you feel it's real?
I believe that interactive storytelling can be what cinema was in the 20th century: an art that deeply changes its time.
Realism is always subjective in film. There's no such thing as cinema verite.
Realism is always subjective in film. There's no such thing as cinema verite. The only true cinema verite would be what Andy Warhol did with his film about the Empire State Building - eight hours or so from one angle, and even then it's not really cinema verite, because you aren't actually there.
I need theatre for my equilibrium, because in theatre the actors don't care so much about image, about celebrity - you are more independent. There is not the narcissism, maybe, that you find in cinema.
France loves American cinema because when an American remake is successful, it makes us money to produce more French films.
I think cinema is linked to literature by a lot of social ways. Our brains are full of literature - my brain is.
I think working as an assistant was a part of knowing people who like cinema, and to learn from a movie, you have to watch it.
I want to figure out what comes after cinema as the gold standard for storytelling.
With virtual reality, I'm not interested in the novelty factor. I'm interested in the foundations for a medium that could be more powerful than cinema, than theatre, than literature, than any other medium we've had before to connect one human being to another.
On Being John Malkovich and the cinema of the absurd, I do enjoy it. I wish there were more like it. The very fact that there can't be more like it is one of the reasons it's admirable.
When I saw 'Pretty In Pink' at the cinema at the age of 11, I just thought it was a period piece from maybe 100 years previously. I had no idea that was what everybody was supposed to be wearing.
Cinema is made to film material: the body. By filming the material, the mechanical, the worker, we arrive at the spiritual.
Cinema is all about going back from shadow to light and back and forth: cinema is a place of transgression.
Your relationship to a film, and to cinema, is very much determined by yourself, so what is relevant is you.
I think there's not a lot of real filmmakers. There are only a few people who make real cinema. I can count them on my fingers.
I think that the cinema is a physical thing. What I'm looking for is creating a physical shock with the audience. I don't care of the meaning. I don't care of the idea. I don't want to say something. I want to make a 'shock physique.'
I am really not interested in the cinema. I loathed it when I started six years ago, and I don't enjoy it even now.
I didn't have this feeling that I should be a leading actor in the cinema. And I wouldn't want the responsibility of the opening weekend.
We can compare classical chess and rapid chess with theatre and cinema - some actors don't like the latter and prefer to work in the theatre.
Shyam Benegal has found a lovely voice in this film. We've all seen the kind of cinema he's come up with over the years. His films like 'Mandi,' 'Manthan,' 'Sooraj Ka Saatvan Ghoda' all have revolutionised the face of Indian cinema. And in 'Well Done Abba,' he has once again found a relevant subject, which even youngsters can relate with.
I would never put on 20 kilos and mess up my system because a role demands it. Hindi cinema doesn't offer you roles that get you an Oscar, anyway. Tom Hanks can do it in Hollywood; not us.
Who wants to get really granular with sabermetrics when you're going to see a two-and-a-half-hour Brad Pitt movie? You don't go to the cinema for a maths lesson.
What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. I was in Italy, but completely in love with the nouvelle vague movement, and directors like Godard, Truffaut, Demy. 'The Dreamers' was a total homage to cinema and that love for it.
At a very young age I was allowed to go into the cinema and watch adult films.
People make a star out of actors after one or two films and keep capitalising on the same thing without having the courage of exploring the world of cinema, which has so much to offer.
Egyptian comedy has a very, very old tradition. Our theater and our movies are just, like, amazing. And Egypt is kind of like the Hollywood of the Middle East. I mean, we had cinema maybe decades before the other Arab countries ever got independence.
'Moonlight' is a story that hasn't been told. Whether placed as queer black cinema or urban male cinema, the lack of coming-of-age films featuring people like Chiron and set in places like inner-city Miami is pronounced and unfortunate.
The anti-Japanese resistance was as familiar a theme in North Korean cinema as cowboys and Indians was in early Hollywood.
In Iranian cinema, all the lying takes place before making the film. In order to be able to make the film, you have to lie.
It's important for cinema to keep on evolving: for people, and not only teenagers, to be able to go to a movie that has huge epic scope but has an intellectual and real story to tell.
Korean cinema is very improvisational, and there is a unique power that stems from this.
I like it when I go into a cinema and I'm not aware that I'm there; I'm totally involved in the film for two hours.
My films often have a spiritual dimension which comes from my Muslim background, and I'm happy to tackle that in cinema.
In cinema, you can see an actor but he can't see you. On stage, there's a one-to-one and an eye-to-eye connection.
You'd need to polish your skills as you only get one chance. In cinema, retakes are possible but in theatre, there are none.
It is good that people are experimenting with cinema. They are trying to do serious and soulful cinema but such films don't stay in theatres for over a week. People ultimately go and watch Salman, Shah Rukh and Amir Khan films.
Quality cinema is not changing anything, everything is the same. The artistes and other people involved in these films get some recognition at international film festivals and award shows only.
I have seen Hollywood artistes like Al Pacino, Tom Cruise and Tim Burton doing theatre and Broadway shows. Cinema actors tend to go back to theatre because it gives them an opportunity to reinvent themselves.
I can't make pronouncements about the entirety of Iranian cinema, because there's such a great number of filmmakers and because of the diversity of points of view and filmmaking attitudes.
My role in 'Slumdog Millionaire' was a cameo, but it did expose me to cinema and took me to Cannes. I then did 'Prague,' which was a very niche film.
'Slumdog' initiated a chain of events like going to Cannes and being invited to the Cairo Film Festival, which changed my perspective of cinema and of being an actor forever.
Web is going to become very big... The format is different in terms of its storytelling pattern and its duration. Web audience enjoys watching stuff on the go, they prefer to watch it alone. It is isolated viewing while cinema is collective viewing.
To get noticed, I had to take my films in a space which was much more democratic in terms of cinema - the international film festivals.
The quality of mainstream cinema has changed. A lot of independent voices feel they can leave everything behind and make independent films.
Chennai is the birthplace of a new language in cinema. The audiences here are the most evolved moviegoers to be found anywhere in India.
There is more to Indian cinema than just Bollywood. I think regional cinema, especially Tamil and Marathi cinema, are exploring some really bold themes.
For me, any kind of thing that has stood for 100 years tells me of the health of that thing. So, cinema completing a hundred years in India just says that it is very healthy.
It is very good to bridge the gaps between Indian and international cinema.
It was only in the early 1990s - during my student years as an aspiring scientist at Delhi University - that I discovered the world of cinema.
Normally I make myself swim, do exercises. For zest I like going to the cinema.
Cinema Paradiso, because it reminds me of why I make movies, the magic of movies, the romance of movies.
I became a director just for the love of movies, because of the power of cinema.
I don't go out a lot, as I like to stay in. I often go for dinners with my girlfriend, and I love to see movies at the cinema, but I don't understand them.
Of course, like all film-makers I've been mesmerised by cinema since I was a child.
I like one nice man because he gets three tickets for the cinema so we've got somewhere to put our coats. He passes the test. I've been quite surprised because I really didn't expect to be wined and dined, and it's quite nice.
I became producer so that I could work with persons like him and to rock the world of Hong Kong Cinema a bit.
Why does there exist a global American entertainment industry, but there isn't an equivalent coming from France or Italy? This is the case simply because the English language opens the whole world to the American 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.
On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.
Nevertheless, in the theatre, and in the cinema, the contemporary reality of Poland has been represented only to a minuscule degree in the last 12 years.
I go to universities to talk to the students and teach them how to watch movies. Movies have so many elements - acting, music, art direction, costumes. I also tell them not to watch pirated movies. At the cinema, they can enjoy the big screen and the surround sound.
I guess we've had a very close relationship because I don't pretend to know about cinema and I think I do know a bit about theatre but he does, he respected that and so we really just had a collaboration which went completely like this.
We felt we had to know something of his back story. I don't think people in the cinema would just accept that he's there. I think we had to learn how he (got there).
Well the least favourite question is the one that one's asked particularly about in Japan is what's the difference between theatre and cinema and I think, well, that's about eighty bucks.
I think people do like extremes in cinema. There are very few films told about everyday middle-class couples, which is odd to me, as there are a lot of everyday middle-class couples.
I went through a period of watching probably too many Bergman films in a row. I felt like I'd discovered the answer to what cinema should be.
The 'Western' is the only genre whose origins are almost identical with those of the cinema itself.
Foreign audiences are used to seeing Mexico in other sorts of movies. 'Casi divas' is a step toward a more commercially successful cinema, without the violence, blood and exaggerations. The movie reflects a more human Mexico, while remaining a chick flick, although it is not a romantic comedy.
The select group of people who do make realistic cinema, who do make cinema perhaps a little more acceptable to the Western audience, is a very small percentage.
Audiences change because life changes. Countries change geographically, climatically, socially and morally. Many things happen, and cinema, in a sense, reflects what's happening in the world.
The film industry is large enough and has many successful icons that have taken Indian cinema to shores beyond India. I think that Indian cinema itself needs to be applauded beyond one individual.
I feel that, particularly because of language, we are handicapped in getting a large world audience. But Hindi cinema has the same ingredients that appeal to the whole world.
Children don't have anywhere to go except cinema halls, malls and restaurants. All three aren't ideal places for kids to grow up in.
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