Best 605 quotes in «cinema quotes» category

It's difficult to find new solicitations, new expressions. But this is talking about filmmaking. Cinema.

It's easy to not work on my album. I go out to the cinema, catch up with friends, eat, watch "Curb Your Enthusiasm" - that sort of thing.

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.

It's incredible how much cinema can do. We forget.

It's like I'm stuck in a time bubble. Memories keep coming back, and of course, memories are a huge part of literature and cinema, from "Stand by Me" to "Blade Runner.

It's often pointed out that in Cuban cinema there are too many comedies, but a sense of humor is so much part of the Cuban idiosyncrasy. Curiously, the films that have been censored the most have been humorous.

It took a while for me to grasp that my colleagues believe I have made an impact on the history of cinema.

It's part of developing the whole state of how cinema is; everyone is looking out and engaged rather than it being just a financial thing or sitting back, waiting for scripts to turn up.

I've always considered movies evil; the day that cinema was invented was a black day for mankind.

I've always been drawn to a certain kind of dark aesthetic in cinema and in film, to what's abjected or considered abject. I've been tremendously influenced by noirish cinema whether that's Von Sternberg or Scorsese in the 70s or Lynch, etc.

I turn a lot of stuff down - big, big movies, the kind I wouldn't want to go to the cinema to see.

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.

I've always been a big proponent of point of view in cinema. Not necessarily that the point of view has to be subjective, but that in all great films the point of view has been taken into account and established.

I've always had an innate ability to dance, but I'm not as spiffy as those cinema legends like Gene Kelly and Fred Astaire.

I've always loved King Kong. He's like a modern-day myth, an icon of the cinema.

I've grown up around cinema. Michael Kamen was a very, very close friend of mine, sort of my godfather. So I know how much work goes into it. You have to know what you're doing.

I've been in love with the cinema since childhood and it's a fantasy of mine to appear in a Hollywood movie.

I went to the Tokyo Film Festival in Japan because I love Japanese cinema.

I've seen films that have made as much as $100, $200 million, but they're not films. They're images. They're flashes. They're many beautiful images, lots of things to look at. They capture you. But it's not a film. It's not something that involves you in a story. They go to cinema now to be blown away by the effects.

I was inspired by Maya Deren because she was the first woman filmmaker whose films I saw. I also loved Fellini and Goddard because they were so different from Hollywood films. But when I saw the cinema verite films that were made by Drew Associates with Leacock and Pennebaker I found my passion.

I wanted to make a cinema of ideas, not plots, and to use the same aesthetics as painting, which has always paid great attention to formal devices of structure, composition and framing.

I was born at a bad time for Spain, but a really good one for cinema.

I was raised in a family where cinema was a way of life. It was not only about making films, it was relationship, passion, love, everything at the same time.

Just telling a story. That's cinema. It's not silent, black and white. It's a simple story that's well made.

I would always slip away to the cinema. I always found something absolutely extraordinary about the fact that these actors were always kind of kicking hard at some new dimension they were doing on film.

I would not like to have a homogeneous type of film. I wanted to go to many different kinds of ways of making cinema and telling stories and watching the country.

I would tend to be drawn to independent cinema as a viewer, probably more than the big blockbuster.

Juxtaposing a person with an environment that is boundless, collating him with a countless number of people passing by close to him and far away, relating a person to the whole world, that is the meaning of cinema.

I work for the public, for the people who are paying to go to the cinema, rather than for the critics.

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.

Look, I wasn't saying the Beatles are better than God or Jesus. I said 'Beatles' because it's easy for me to talk about Beatles. I could have said TV or the cinema, motor cars or anything popular and I would have gotten away with it.

Learn from cinema. Be economic with descriptions. Sort out the telling detail from the lifeless one. Write dialogue that people would actually speak.

Let us start with the title of War and Cinema. The important part of the title is not War and Cinema.

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.

Magic in cinema is a bit like ventriloquism on the radio.

Modern-day cinema takes the form of a sermon. You don't get to think, you only get to receive information.

Maybe I should stay a good soldier of cinema.

Modern American cinema seems to me superficial. The intention is to understand a certain reality, and the result is nothing but a photographing of that reality.

Modern man is assailed on every side and almost without interruption by noise - of the radio, of television, of headlines, of advertising and of the cinema - of which the greatest part, far from enlightening the mind, blunts and stultifies it.

Musicals and horror films can be very non-verbal and very pure cinema with movement. The camera is justified in being a character. It can really move and tell a story, and literally direct you to look here or there.

More than an actor, I am a performer... I'm a great believer - honestly so, shamelessly so, vulgarly so - that cinema is for entertainment. If you want to send messages, there's the postal service.

Most cinema is not about images but text. Why on earth have we based cinema on text? Why can't we break that umbilical cord? Why do we have to pollute cinema?

Most horror movies are certainly that.

Movies suddenly became film and cinema an art form and terribly chic.

My absolute favorite song I've ever written is "This Is Where We Came In." It's a nudge at younger listeners, cause at one time you could go into a cinema halfway through a film and then stay through and pick up where you left off.

Music is one of the important things for me in cinema.

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