Best 605 quotes in «cinema quotes» category

For the last 30 years our cinemas have been ruled by science fiction and horror. We've had some very good Fantasy films in that time period, but for my tastes I still haven't seen fantasy done to absolute perfection. That is the hope I have in this project.

French cinema allows women to look... a certain way and be talented at the same time.

French cinema audiences usually don't express anything. Certainly not satisfaction.

From a dramatic viewpoint, there are few professions that grant their members entry into other lives, high among them cops, doctors, clergymen, journalists and prostitutes. Perhaps that explains why they figure in so much television and cinema. Their lives are lived in the midst of human drama.

From where I sit I see the digital cinema creating sloppiness on the part of filmmakers because they know if they really get in trouble they can fix it later. So they don't pay that much attention, and of course it costs a lot of money.

Garbo still belongs to that moment in cinema when capturing the human face still plunged audiences into the deepest ecstasy, when one literally lost oneself in a human image as one would in a philtre, when the face represented a kind of absolute state of the flesh, which could be neither reached nor renounced.

Give me B movies or give me death!

Going to the cinema is like returning to the womb; you sit there, still and meditative in the darkness, waiting for life to appear on the screen.

Hollwood creates useful entertainment. There are millions of people on earth who need distraction and American cinema fulfills that function.

Having a movie that lasts and makes your image imprinted into the history of cinema, it's very positive.

Hollywood is a town; it's not a medium. And cinema is a medium you can practice anywhere.

Hollywood has its own way of telling stories. I was just telling stories that I was familiar with. And it's what I want to do in the future: I want to take my audio cinema and put it on the screen.

Hong Kong cinema is something you can't duplicate anyway.

I am an entertainer. Cinema is entertainment. It is nothing more than that.

I acknowledge Mike Leigh and Ken Loach. They are prostlytizers of English socialism preaching to the converted and telling us what we already know. Cinema is best served away from documentary neo-realism. I come from a tradition of post-post-Italian neo-realism in England, where we've produced the best television in the world. But to paraphrase Truffaut, the English have no visual imagination.

I am a child of cinema, and I am a cineaste, so everything I do is a reference to something I've heard or experienced or seen. And we all do it, we all steal. The ones who claim they don't, are obviously lying, because you do. You just have to make it your own.

I am an animator. I feel like I'm the manager of a animation cinema factory. I am not an executive. I'm rather like a foreman, like the boss of a team of craftsmen. That is the spirit of how I work.

I am really not interested in the cinema.

I am not ready to fit into the mould of commercial cinema.

I am not interested in making didactic polemical statements. That is not the way I want to make films. There is a place for polemics, but I don't think that it is in fictional cinema. Fictional cinema works subtly and deeply.

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 am still associated with a heroic period in French cinema, and my name remains linked to this period.

I ask of cinema what most North Americans ask of psychedelic drugs.

I am very happy to be part of European and world cinema as a British filmmaker.

I am waiting for the right story to tell. Just like 'Man of Tai Chi' just seemed to be the right story to tell. So I'm looking for that. Because I really love directing. I love developing the story. I love actors. I love the cinema of it, the way that you tell a story visually.

I am young enough to try my hands at all kinds of cinema.

I asked the producers when I was doing 'Y Tu Mama Tambien' if they could give me a VHS recording of the film that I could show to my family, because in Mexico and Latin America, when you do a film, you don't expect anybody to see it, especially not in the cinema.

I became producer so that I could work with persons like him and to rock the world of Hong Kong Cinema a bit.

I bask in the affection I get on the streets. I recently went into the kitchen of a restaurant to meet the cooks. They were people I didn't know, but what a joy it was meet them! Such experiences wouldn't happen if I were doing only one kind of cinema.

I believe that perfection handicaps cinema.

I can't remember what the last film I saw was, as I can't smoke or drink in cinemas.

I came from a very avant-garde documentary kind of film making world. I like cinema verité, documentaries. I liked non-story, non-character tone poems. And that's the film making that I was interested in.

I come from an everyday middle class family in India. The film industry reached us only through our television sets and cinema halls.

I could almost say it is my religion. I guess that sounds pretentious, but I want to live and breathe cinema.

I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between.

I definitely felt that I was put at a very high place to be able to be a part of such a wonderful franchise in cinema history, so I was definitely very driven at doing a great job and having my body look the way it should and just being a part of the creative process.

I didn't go to the cinema a lot when I was young.

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.

I didn't have a normal academic career. I never studied cinema. I learned from life.

I don't think Bollywood is only mindless cinema, but a lot of films they churn out are not films that I completely enjoy watching.

I do feel for me that cinema has somehow ceased to be a spectator sport. I get tremendous excitement out of making it rather than watching it.

I do not believe in the Cinema verite. Sometimes a really good lie is better than any truth.

I'd like to be for cinema what Shakespeare was for theatre, Marx for politics and Freud for psychology: someone after whom nothing is as it used to be.

I do feel like my music, in some weird way, is probably better suited for cinema than for anything else - I can't really explain, other than I think that music has been mostly inspired often by soundtracks.

I don't believe in the deplorable notion of realism in the cinema: you can over-reach it, and it becomes as false as convention.

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.

I don't think I've succeeded in making any really good films. There are moments, scenes, whole movements that sing. It has all added up to a cinema of sorts, even though I'm still learning my art.

If I want to, I can sign 20 films for ridiculous amounts of money, but I really want to do different kinds of cinema. I want creative satisfaction.

If a chemical drug like Viagra is accepted by society and by the world to ignite desire, then what is the problem with my audio-visual drug called cinema which ignites desire? Both are basically doing the same thing!

If an irreducible distinction between theatre and cinema does exist, it may be this: Theatre is confined to a logical or continuous use of space. Cinemahas access to an alogical or discontinuous use of space.