Best 605 of Cinema quotes - MyQuotes
It's incredible how much cinema can do. We forget.
A specter is haunting the cinema: the specter of narrative. If that apparition is an Angel, we must embrace it; and if it is a Devil, then we must cast it out. But we cannot know what it is until we have met it face to face.
Relating a person to the whole world: that is the meaning of cinema.
I see the carpet reflecting that narratological structure of the storytelling, with Scheherazade as the outside frame story on the outside, with the stories woven on the inside. It's also demonstrative of the infinity of it, with no beginning and no end. The carpet is also a kind of metonym for cinema, this idea that the flat surface carries a terrific depth of imaginative field while remaining totally flat.
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.
Anybody who comes to the cinema is bringing they're whole sexual history, their literary history, their movie literacy, their culture, their language, their religion, whatever they've got. I can't possibly manipulate all of that, nor do I want to.
In cinema, the leading player is the director.
Cinema is the most beautiful fraud in the world.
The most delightful aspect about the language of cinema is that it speaks to each of us in different ways - it is a purely subjective experience.
Roger Ross Williams
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.
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 don't have any particular wish to be polemical or didactic; I don't have a 'message', but what I do thoroughly enjoy are those works of art, not necessarily in the cinema, but in the other arts as well, which have an encyclopaedic world.
Certainly, the Hollywood cinema, there's almost nothing of interest coming out of there.
Cinema is a language. It can say things—big, abstract things. And I love that about it. I’m not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you’ve got time and sequences. You’ve got dialogue. You’ve got music. You’ve got sound effects. You have so many tools. And you can express a feeling and a thought that can’t be conveyed any other way. It's a magical medium. For me, it’s so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. It's not just words or music—it’s a whole range of elements coming together and making something that didn’t exist before. It’s telling stories. It’s devising a world, an experience, that people cannot have unless they see that film. When I catch an idea for a film, I fall in love with the way cinema can express it. I like a story that holds abstractions, and that’s what cinema can do.
Reality is not art, but a realist art is one that can create an integral aesthetic of reality.
My style of songwriting is influenced by cinema. I'm a frustrated filmmaker. A fan once said to me, 'Girl, you make me see pictures in my head!' and I took that as a great compliment. That's exactly my intention.
I've always loved King Kong. He's like a modern-day myth, an icon of the cinema.
I have this theory that if you do a film, those who have not fallen asleep or left the cinema, they will live with the film much longer, and it will really enter their imagination and the subconscious much more profoundly.
I remember driving around with my parents when I was little and looking out of the window and being very aware that it was the shape of a film screen when you went to the cinema. This was how I first saw the world, framed through a car window.
My thinking was that today's spectator is so well-versed in film language that all theories about suspense, as argued by Dreyer and Hitchcock, on what makes you scared in cinema, can be ditched. It's the spectator, finally, who's going to construct the menace and the fear.
Film does not replace language, for it cannot exist without it. Film displaces language, exposes the abyss that threatens to engulf every semantic signification. Film parasitizes language, much as the animal does, drawing into its imaginary panorama that which remains undisclosed in discursivity. Cinema is a parasite.
Filmmaking has the power to fortify the feeble, unify the divided, raise the abandoned and inspire the ignorant.
One of my assistants was on Instagram and showed me how it was working. I thought it was playful, the way you go through images, a little like cinema. It's a bit like a filmstrip that's animated by your finger.
As they say in Corsica... Goodbye!
To Bette Davis, Gena Rowlands, Romy Schneider... To all actresses who have played actresses, to all women who act, to all men who act and become women, to all the people who want to be mothers. To my mother. - Dedication, Todo Sobre Mi Madre
I am really not interested in the cinema.
Unfortunately, cinema critics are very few in America, 400-500 people, but there are more critics of Iran.
I go to the theater two or three times a week when I'm in London. Whereas I feel guilty going to the cinema in the middle of the afternoon.
Use filmmaking for a greater purpose, than to just entertain some drowsy minds. Wake the whole world up with your movies. It has been sleeping for long. Its eternal sleep has become its darkest nemesis. Now is the time to wake it up.
The British cinema had been very dull and conformist.
To the leaders of the cinema still to come, I can offer only a few words drawn from my modest experience. You must ceaselessly formulate and sharpen your critical views, both of others and of yourselves.
I would not have made any of my films or written scripts such as Taxi Driver had it not been for Ingmar Bergman, What he has left is a legacy greater than any other director.... I think the extraordinary thing that Bergman will be remembered for, other than his body of work, was that he probably did more than anyone to make cinema a medium of personal and introspective value.
There are five stages in the life of an actor: Who's Mary Astor? Get me Mary Astor. Get me a Mary Astor type. Get me a young Mary Astor. Who's Mary Astor?
Merleau-Ponty's painting inhabits the same rhetoric as early cinema: it makes the invisible visible, or rather it makes visibility visible; it forms from the thresholds of the visible and invisible world, an order, mode, or aesthetic of visuality. Not only of the small or fast, but of visibility as such. The visuality of the visible and the invisible is found in the mixture of the body and its world, of your body and your world, all your worlds, all your bodies in this world and all those others. Painting is the process by which the visuality of the visible and invisible is made manifest: "Painting mixes up all our categories in laying out its oneiric universe of carnal essences, of effective likenesses, of mute meanings." Each painting is a universal archive, a picture of the universe, a universal image—and like a dream.
You don't have to know how to make a movie. If you truly love cinema with all your heart and with enough passion, you can't help but make a good movie.
Parallel cinema has not made an effort to communicate in a language the other person understands.
My favourite movie is: "Dr Strangelove". (I haven't seen any films released in the past 2-5 years, I'm afraid: I don't do TV/cinema).
But that the white eye-lid of the screen reflect its proper light, the Universe would go up in flames.
George Bernard Shaw
People see a Macbeth film. They imagine they have seen Macbeth, and don't want to see it again; so when your Mr. Hackett or somebody comes round to act the play, he finds the house empty. That is what has happened to dozens of good plays whose authors have allowed them to be filmed. It shall not happen to mine if I can help it.
There's a line in David Lean's punishingly long 1962 desert flick, Lawrence of Arabia: 'Truly for some men nothing is written unless they write it.' Duh.
All my life, I have loved and been inspired by French cinema, and as a studio head it has been my pride and joy to have the ability to bring movies to audiences around the world.
Inasmuch as it's a culture, cinema is the only thing at our disposal with which we can recognize ourselves in today's images. As an instrument it's inevitably inadequate, but it's the only one.
What puzzles most of us are the things which have been left in the movies rather than the things which have been taken out.
I think that there's a very lucid side in cinema: entering a theater and seeing the film.
When I was a young man, my friends and I and all of us in New York were very influenced by French cinema. French cinema played an enormous influence on those of us who wanted to be filmmakers.
It seems to me that dominant cinema seems to require an empathy or a sympathy between the film and the audience which is basically to do with the manipulation of the emotions and it seems to me again -- and this is a very subjective position -- that most cinema seems to trivialise the emotions, sentimentalising or romanticising them.
In football you have an adversary; in cinema that adversary is yourself.
90 percent of Indian cinema is crap
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.
Movies suddenly became film and cinema an art form and terribly chic.