Best 605 quotes in «cinema quotes» category

There's a whole, that is a whole subgenre within martial arts cinema. The supernatural martial arts movie. Particularly within Asian cinema.

There's no thief like a bad movie.

There's nothing better than having a collaborator that you have a great shorthand with and a great comfort with who's shepherding the project along. I mean, that's the best thing that can happen in cinema where there's many cooks in the kitchen.

There's still a 1950s view of cinema, that there's one audience and they all want to see the same thing.

The revolution of video had a massive affect. We grew up in a time where suddenly you could own films. Before, they had a theatrical run, and then perhaps they'd come back, or you'd catch them in a retro cinema.

There was also the myth of the western films. But my films are borrowed not from the story of the West in America but from the story of cinema.

There were Hollywood movies and then there were those aggressively anti-narrative films that they showed at the Collective for Living Cinema.

There will always be a theatrical experience because there will always be cinemas no matter what. It's like there will always be theaters to have stage plays in.

The select group of people who do make realistic cinema, who do make cinema perhaps a little more acceptable to the Western audience, is a very small percentage.

The silent pictures were the purest form of cinema

The so-called "remake" is simply a commercial formulation of a much deeper exchange which accounts for the way cinema is what it is.

This is what we have all come to Cannes for: for something different, experimental, a tilting at windmills, a great big pole-vault over the barrier of normality by someone who feels that the possibilities of cinema have not been exhausted by conventional realist drama.

The 'Western' is the only genre whose origins are almost identical with those of the cinema itself.

The whole tradition of cinema is dominated, really, by films about good guys versus bad guys, good versus evil. But we have very few films about the nature of evil itself.

They seem much rarer now, those auteur films that come out of a director's imagination and are elliptical and hermetic. All those films that got me into independent cinema when I was watching it seem thin on the ground.

This...Godless society operates in an extremely efficient manner at least in its higher levels of leadership...It follows a perfectly mapped out strategy. It holds almost complete sway in international organizations, in financial circles, in the field of mass communications; press, cinema, radio and television.

This is one of the things I don't like so much about French cinema - we have tendency to concentrate on actors and dialogue and we don't care so much about the visual aspect. I love when you use all the elements at your disposal.

To an ever greater extent out experience is governed by pictures, pictures in newspapers and magazines, on television and in the cinema. Next to these pictures firsthand experience begins to retreat, to seem more and more trivial. While it once seemed that pictures had the function of interpreting reality, it now seems they have usurped it. It therefore becomes imperative to understand the picture itself, not in order to uncover a lost reality, but to determine how a picture becomes a signifying structure of its own accord.

To be only spectacular should be 5 or 10 percent of cinema.

Today films are made to cater to commercial markets created by multiplexes, not for those who enjoy good cinema.

To me, the art of cinema is the same as the art of painting. The artist takes a 2D medium and gives you the illusion of depth. If you look at any of the great paintings, you have the illusion of depth. Which is part of the art. The same with the great movies.

Today's cinema is a global art form, it is impossible to make movies for a market the size of France, representing no more than 4% of the world's total.

To me cinema can be a much more friendly world if there's a lot of things to choose from.

Today's cinema is a proliferation of comedies, which are in some ways creating caricature images. They're one-dimensional.

To me, not every black filmmaker who is making black films is trying to make black cinema.

To my mind any phenomenon is paracinematic if it shares one element with cinema, e.g., modularity with respect to space and time.

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.

To the documentary director the appearance of things and people is only superficial. It is the meaning behind the thing and the significance underlying the person that occupy his attention... Documentary approach to cinema differs from that of story-film not in its disregard for craftsman-ship, but in the purpose to which that craftsmanship is put. Documentary is a trade just as carpentry or pot-making. The pot-maker makes pots, and the documentarian documentaries.

Unfortunately, my ideas are not what you'd call commercial, and money really drives the boat these days. So I don't know what my future is. I don't have a clue what I'm going to be able to do in the world of cinema.

Unfortunately, cinema critics are very few in America, 400-500 people, but there are more critics of Iran.

Very broadly, literature concerns itself with the internal, cinema with the external.

Used properly, cinema is the coolest thing in the world.

Watching a movie should be like hunting. Out of context, every image of the cinema is yours for a split second. Take them before they bury it.

We believe that the cinema's capacity for getting around, for observing and selecting from life itself can be exploited in a new and vital art form

Well, you cannot think of cinema now, and you cannot think of cinema in the UK and not place Chaplin in the most extraordinary elevated context, if there can be such a thing, in that he was a genius, he was unique.

We have a partnership deal with New Line Records, which is part of New Line Cinema, and... I worked on that.

Well, as a visual artist working with the phenomenon of cinema, the grammar of cinema, [making a feature] was bound to happen. Everything I do is like sculpting with image and sound.

We cannot put cinema in parallel with the political, because politics are something dirty and cinema is not dirty.

We're trying to tell stories. We're a company that's concerned with global change and the effect of global cinema. We're not simply tied to the very limiting framework of U.S. film-making.

We really are living in the era that all this sci-fi literature and cinema was centered around, but it's not anything like what we envisioned it to be. It's almost like there's too much choice.

What bothers me is that the cinema - what Fox News calls the "wholesome cinema that our children are supposed to be able to see" - is so violent. I'm not even talking about the content. I'm talking about the way in which it's cut.

What I do is not some magical, mystical thing. I simply get up in the morning, get to work on time, say my lines, and do the best I can

What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. I was in Italy, but completely in love with the nouvelle vague movement, and directors like Godard, Truffaut, Demy. 'The Dreamers' was a total homage to cinema and that love for it.

What I expect of a movie reviewer is that he should love cinema as much as I do.

What cinema can do is the reordering of this reality from a certain chaos or from a certain order into an aesthetic dimension.

What I'm doing in writing has been thoroughly and exhaustively explored in other fields like visual art, music, and cinema, yet somehow it's never really been tested on the page.

What makes international cinema so interesting is that each territory has its own sensibility. When you look at an Indian or French film, there's a certain flavor. And even though the language is different, if the film is successful, it has something very common and understandable.

What is saved in the cinema when it achieves art is a spontaneous continuity with all mankind.

When I go to the cinema, I'm often frustrated because I can guess exactly what is going to happen about ten minutes into the screening. So, when I'm working on a subject, I'm always looking for the element of surprise.

When I grew up, you'd see shorts before movies. I know it happened a lot more before I started going to the cinema.