Best 605 quotes in «cinema quotes» category

My duty is to try to reach beauty. Cinema is emotion. When you laugh you cry.

My fascination is not for cinema; it's for human nature and human beings because I find it quite difficult being one at times.

My favourite way of watching the cinema is the biggest possible cinema you can find, with the biggest possible screen, and the loudest possible Dolby - but just me. Nobody else.

My films are doing well in Polish cinemas, so I don't really have problems financing them, and my international accolades are helpful.

My films are intended as polemical statements against the American 'barrel down' cinema and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus.

My life, my reading, everything about me revolves around the cinema. So for me, cinema is life, and vice-versa.

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.

No, I like today's cinema a lot. But I've spent so many decades only making movies. There's so much that I still want to do. Like, live. It's only up to me.

Normally I make myself swim, do exercises. For zest I like going to the cinema.

Now why should the cinema follow the forms of theater and painting rather than the methodology of language, which allows wholly new concepts of ideas to arise from the combination of two concrete denotations of two concrete objects?

Of course, like all film-makers I've been mesmerised by cinema since I was a child.

Of course it's true: the public want to see young people - young people are the people who go to the cinema. It's a sad fact of life, but you've got to accept it and not whine about it.

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.

One of the most original and poetic works of cinema made anywhere in the seventies.

One of the things I love about cinema is the range.

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.

Opera was the cinema of its time, so to bring back that popular appeal, you just need to unleash its visceral immediacy and excitement. Most productions don't manage that - but when an opera does do it, you never forget it.

Parallel cinema has not made an effort to communicate in a language the other person understands.

People know that I have a great love for cinema. Not just for commercial cinema, but for the “cinema d’auteur.” But to me, two of the great “auteurs” are actually actors and they both happen to be French. One is Alain Delon and the other is Jean-Paul Belmondo.

People who would go to an arthouse cinema and watch a Swedish movie and read subtitles... it's a small percentage.

Perhaps our eyes are merely a blank film which is taken from us after our deaths to be developed elsewhere and screened as our life story in some infernal cinema or dispatched as microfilm into the sidereal void.

Personally, I prefer contemporary films, but the market calls for more period choices, especially since China opened up a cinema market in Hong Kong. There's a lot of restriction for contemporary films simply because of subject matter.

Politics, poverty, riches, etc - these are but backdrops for the grand cinema, the opera: the glory of your life. Sure, change the backdrops, make them better, but it is this inside-ness that matters most. Nothing else, at the last breath, matters, but your very own poetry. The glory of living.

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.

Radio did not kill books and television did not kill radio or movies - what television did kill was cinema newsreel. TV does it much better because it can deliver it instantly. Who wants last week's news?

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.

Realism is always subjective in film. There's no such thing as cinema verite.

Relating a person to the whole world: that is the meaning of cinema.

Sequels are not done for the audience or cinema or the filmmakers. It's for the distributor. The film becomes a brand.

Some of it was shot in Berlin, but a lot of it was filmed in Hamburg, along the Reeperbahn in Hamburg in the famous red light district. Kino is obviously German and "film" and "cinema" and we were always cinematic in our thinking.

Sometimes I have better relationships with my barber then with people who are into cinema from an upper class.

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).

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.

Never in the history of cinema has a medium entertained an audience. It's what you do with the medium.

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

Nothing will ever top 'The Wire.' It was historical. It was black cinema.

Now more than ever we need to talk to each other, to listen to each other and understand how we see the world, and cinema is the best medium for doing this.

So what'll happen is there'll be some very good cinema experiences are going to see 3D where you have to pay more. And there'll be some bad experiences of going to see movies in 3D. And I just hope that this kind of gold rush mentality doesn't kill what could actually be something that really, really benefits the industry.

Stepping into the "shoes" of someone's life other than my own, great movies such as 'Cinema Paradiso,' scenic landscapes, the work of Daniel Day-Lewis, the books of Joel Goldsmith, traveling, doughnuts, ice cream.

[Sundance] still feels significant. I don't think you can help but come here and not feel that sense of history and its significance in influencing film. And I think it still does. Some of that is based on history, but it's also based on really incredible programmers who are showcasing such an incredible variety of cinema.

Ten Days That Shook The World, by Eisenstein, I went to see it, and I was so impressed with this film, so impressed with what cinema could do.

That sort of detailed filmmaking is one, hard to do and not have it be pretentious, and two, have it tell the story, which is what you're taught, that cinema is the language of images and you really should be able to make a film with no dialogue and tell a story.

That's the funny thing about cinema, it is an intellectual medium, but it's also sort of anti-intellectual.

That's the thing with independent cinema: They all get good reviews, and they don't make money. Some of them are good. Some are great. And some are terrible.

That's what I like about film-it can be bizarre, classic, normal, romantic. Cinema is to me the most versatile thing.

The American independent cinema is as formulaic as Hollywood and one genre is what you might call the 'inaction movie'. The setting is invariably a decaying town in a regional backwater where a catalytic stranger or returning native meets up with a group of sad, eccentric outsiders.

The appeal of cinema lies in the fear of death.

The BFI exists to celebrate all poets of world cinema, of the past and present.

The blue collar milieu was something that I really understood and resonated with me and I thought was underrepresented in American cinema.

The British cinema had been very dull and conformist.