Best 605 quotes in «cinema quotes» category

[...] a inizio Ottocento, sotto l'influsso delle nascenti teorie sociologiche, ma anche di quelle pedagogiche rousseauiane e pestalozziane, il bambino venga finalmente visto come un protagonista del progetto sociale, sia in termini educativi e di utilità sociale. A ciò si accompagna l'introduzione della scuola pubblica e dell'obbligo scolastico (con tempi diversi) nei vari paesi europei, senza tuttavia trascurare, ma anzi favorendo l'aspetto che lo vuole "piccolo consumatore", al quale destinare un numero sempre crescente di attenzioni e prodotti specifici. - pag. 39

All art is portraiture and all art is political: those are the things that you cannot avoid. When someone sees you in your entirety for who you are, that’s the greatest act of love, because it’s granting you existence. And the rarest act of love is, like cinema, to see.

All you need for a movie is a gun and a cat.

Art depicts life and life depicts art.

A movie is not a movie, it is a potential nuclear furnace of inspiration, courage and conscience.

But this is the ultimate contradiction of cinema. It's a medium BORN of technology, AFRAID of technology and evolving towards the future BECAUSE OF technology.

Bette Davis lived long enough to hear the Kim Carnes song, 'Bette Davis Eyes'. The lyrics to that song were not very interesting. But the fact of the song was the proof of an acknowledgement that in the twentieth century we lived through an age of immense romantic personalities larger than life, yet models for it, too - for good or ill. Like twin moons, promising a struggle and an embrace, the Davis eyes would survive her - and us. Kim Carnes has hardly had a consistent career, but that one song - sluggish yet surging, druggy and dreamy - became an instant classic. It's like the sigh of the islanders when they behold their Kong. And I suspect it made the real eyes smile, whatever else was on their mind.

Borges's extreme architecture attempts to visualize the universe by assigning to every object real and unreal, now and yet to come, a code or sign, a corresponding figure within the Library. It seeks to render totality visible, to effect a total visibility and visuality. The Library of Babel is a view of the universe inside and out, an X-ray of the universe and universal X-ray, seen from within and without. It is a representation of everywhere: a perfect duplication of the universe. And of you: universal. An endless and eternal cinema, an imaginary archive that extends into the universe until it is indistinguishable from it, until you are indistinguishable from the universe.

A sex worker deserves a billion times more respect, than the mystical fraudsters of the society, such as astrologers, psychics and tarot card readers.

Cannes was to blame, he told himself defensively. It was a city made for the indulgence of the senses, all ease and sunshine and provocative flesh. “What had he seen, what had he learned? He had seen all kinds of movies, good and bad, mostly bad. He had been plunged into a carnival, a delirium of film. In the halls, on the terraces, on the beach, at the parties, the art or industry or whatever it deserved to be called in these few days was exposed at its essence. The whole thing was there—the artists and pseudo-artists, the businessmen, the con men, the buyers and sellers, the peddlers, the whores, the pornographers, critics, hangers-on, the year’s heroes, the year’s failures. And then the distillation of what it was all about, a film of Bergman's and one of Bunuel's, pure and devastating.

Cinema is the ultimate pervert art. It doesn't give you what you desire - it tells you how to desire.

Cinema is a very difficult and serious art, it requires sacrificing of yourself. You should belong to it, it shouldn't belong to you. Cinema uses your life, not vice versa.

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.

Cinema – all art really – has great power. Power to illuminate. Power to transform. For those of us who experience film as literature, classic movies comprised an introductory education in the genre. As kids, many of us went searching through library shelves for obscure source novels after seeing some old movie or other. It was the start of many an adventure.

Culture is fundamental. Literature saves you. Cinema saves you.

De todas as pessoas que conheci, Federico vem em primeiro lugar. Não falo nem de seu teatro nem de sua poesia, falo dele. A obra-prima era ele. Parece inclusive difícil imaginar alguém comparável. Quer ao piano imitando Chopin, quer improvisando uma pantomima, um esquete teatral, era irresistível. Podia ler qualquer coisa, a beleza sempre jorrava de seus lábios. Ele tinha a paixão, a alegria, a juventude. Era uma labareda. Quando o conheci, na Residência dos Estudantes, eu era um atleta provinciano bem tacanho. Pela força da nossa amizade, ele me transformou, me fez conhecer outro mundo. Devo a ele mais do que consigo dizer. Seus restos mortais nunca foram encontrados. Lendas circularam sobre sua morte, e Dalí – de um jeito bem ignóbil – chegou a falar em crime homossexual, o que é totalmente absurdo. Na realidade, Federico morreu porque era poeta. Nessa época, do outro lado, ouvia-se gritar: “Morte à inteligência!

Don't chase movies let movies chase you.

During the 1924 controversy over ownership of the word “surrealism,” Breton’s most vocal opponents were Ivan Goll and Paul Dermée who, like Epstein, defined surrealism via cinema.

Dying is not a solution.. I want to live with You..!

Elle me rappelle la phrase de ce célèbre journaliste américain, Walter WINCHELL, "Hollywood crée beaucoup d'images et peu d'acteurs.

Entertain, but also, give the viewer something to think about.

Fazer filmes é uma experiência fantástica, mas os pormenores técnicos são mortalmente enfadonhos. É uma chatice salpicada de momentos vibrantes.

But that the white eye-lid of the screen reflect its proper light, the Universe would go up in flames.

Filmmaking has the power to fortify the feeble, unify the divided, raise the abandoned and inspire the ignorant.

Film analysis enables us to recognize how the filmmakers have their magic on us, how all the constituent elements of the film have combined to create that magic. Rather than rob us of the pleasures of watching films, this approach affords us the even greater pleasure of deep engagement

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.

Don't be a zombie for anyone, if your oppressor likes zombies, cinemas are not located in mars.

Give people films, they will forget after a few weeks, but give people ideas, they will assimilate them into their consciousness.

Franklin knew that the truth lay with the winter night: the world was silent and black-and-white.

Habana Eva" released in 2010, Habana Eva is a funny Romantic comedy. Eva works as a seamstress in a sweatshop where she dreams of becoming a fashion designer with her own a room. Her love is her longtime partner Angel, a charming yet lazy islander. Her dream of marrying Angel fades when she meets Jorge, a handsome and wealthy Cuban raised in Venezuela who returns to Cuba, with a more ambitious project than taking photos of Eva for a book. Eva who has been living with her aunts falls for him and has to decide which of the two men she will want to marry. Directed by Fina Torres, starring Prakriti Maduro as Eva and Juan Carlos García as Jorge and Carlos Enrique Almirante as Angel. Venezuelan produced and filmed in La Habana, Cuba. Habana Eva film won the Best Picture award at the New York International Latino Film Festival on August 2, 2010.

Healthy entertainment is a beautiful blend of stimuli that can connect with the viewer at a sentimental level, then sow the seeds of a certain idea or feed the mind with inspiration and courage. In short, healthy entertainment does not evoke raw emotions in the mind of a viewer only to make them wreak havoc, rather it guides those emotions in a healthy direction. This leads to not only an entertained viewer, but also an inspired soul. And that should be the purpose of film-making, and indeed the entire entertainment industry, rather than feeding the general population with garbage.

Healthy entertainment does not evoke raw emotions in the mind of a viewer only to make them wreak havoc, rather it guides those emotions in a healthy direction.

Heroes hate wasting time. 'You're wasting my time,' they'll say. Yet they devote very little time to time management, and rarely consult a diary.

Her first really great role, the one that cemented the “Jean Arthur character,” was as the wisecracking big-city reporter who eventually melts for country rube Gary Cooper in Frank Capra’s Mr. Deeds Goes to Town (1936). It was the first of three terrific films for Capra: Jean played the down-to-earth daughter of an annoyingly wacky family in Capra’s rendition of Kaufman and Hart’s You Can’t Take It With You (1938), and she was another hard-boiled city gal won over by a starry-eyed yokel in Mr. Smith Goes to Washington (1939). “Jean Arthur is my favorite actress,” said Capra, who had successfully worked with Stanwyck, Colbert and Hepburn. “. . . push that neurotic girl . . . in front of the camera . . . and that whining mop would magically blossom into a warm, lovely, poised and confident actress.” Capra obviously recognized that Jean was often frustrated in her career choice.

He sank back into his black-and-white world, his immobile world of inanimate drawings that had been granted the secret of motion, his death-world with its hidden gift of life. But that life was a deeply ambiguous life, a conjurer's trick, a crafty illusion based on an accidental property of the retina, which retained an image for a fraction of a second after the image was no longer present. On this frail fact was erected the entire structure of the cinema, that colossal confidence game. The animated cartoon was a far more honest expression of the cinematic illusion than the so-called realistic film, because the cartoon reveled in its own illusory nature, exulted in the impossible--indeed it claimed the impossible as its own, exalted it as its own highest end, found in impossibility, in the negation of the actual, its profoundest reason for being. The animated cartoon was nothing but the poetry of the impossible--therein lay its exhilaration and its secret melancholy. For this willful violation of the actual, while it was an intoxicating release from the constriction of things, was at the same time nothing but a delusion, an attempt to outwit mortality. As such it was doomed to failure. And yet it was desperately important to smash through the constriction of the actual, to unhinge the universe and let the impossible stream in, because otherwise--well, otherwise the world was nothing but an editorial cartoon.

Hollywood's Studio Era was part of a Golden Age because it didn't need profanity (unlike reality-television today)

If a fleet of jet-black CHOPPERS ain't cresting over a back-lit hill by the end of Act II, you've got to start asking yourself whether this is a movie or a fucking art installation.

I look at the world and I see absurdity all around me. People do strange things constantly, to the point that, for the most part, we manage not to see it.

If your priority is a cinema experience in your own home then you should buy a large screen television, if it is good sleep and health then you should buy a small screen television.

I love it when you go to see something, and you enter as an individual, and you leave as a group. Because you've all been bound together by the same experience.

In childhood we inhabit a world of wonderful contrasts that later we often come to see as bizarre and do our best to rearrange, with everything in its 'proper' place. Unusual juxtapositions we label surrealistic. Yet what is surrealism but a second childhood with Freudian overtones which we have to be re-educated to enjoy? -- part of the tragedy of growing up

In my fortress, in the Via Appia Antica in Rome, I wrote the first script for my film PAGANINI. It was not a script in the common sense. Not even a testament. And yet it was more than that: A shorthand note, which I had received on a wavelength of an earlier life over the distance of centuries away . For the time being, I did not require more. The structure of my film originated in the instinct: Notes. Notes of music. Notes of captured images (and dialogues). Notes of feelings. Everything else I would decide in the course of the actual shooting.

In many of the films now being made, there is very little cinema: they are mostly what I call 'photographs of people talking.' When we tell a story in cinema we should resort to dialogue only when it's impossible to do otherwise. I always try to tell a story in the cinematic way, through a succession of shots and bits of film in between.

Is there any moment in time when you‘re doing something better than watching Predator/i>?

[On his Emmy win] I thought ‘ah, very, very nice’ and then I went to sleep.

Is there any moment in time when you‘re doing something better than watching Predator?

I think part of the reason escapism is a predominate aspect of American arts—especially cinema—is because that’s what’s in our DNA. Our ancestors came here to avoid whatever was happening where they were originally from. Escapism is literally in our genes.

I submit that the real reason we criticized and disliked Lynch's Laura's muddy bothness is that it required of us an empathetic confrontation with the exact same muddy bothness in ourselves and our intimates that makes the real world of moral selves so tense and uncomfortable, a bothness we go to the movies to get a couple hours' fucking relief from.

I think it's such a misconception that women don't like [action/sci-fi] or that they don't wanna go and see these movies. I just feel like women have been so misrepresented in these films. We're like, 'Why do we have to go and see the genre every single time with the girl on the back of the frame with a push-up bra? Why isn't there a girl that's standing on the same playing field with the guys?' We don't wanna be guys, but in a post-apocalyptic world, we will survive!

...it is one thing for experimentation to take place: it is another for it to acquire critical mass – or, to use a different metaphor, for ripples to become a wave. ... One sign was the emergence or re-emergence of an international audience that actually sought out artistically challenging films.