Best 605 quotes in «cinema quotes» category

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.

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

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.

Most horror movies are certainly that.

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.

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?

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

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.

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

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

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.

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

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

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 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 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.

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.

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

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

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

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

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.

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?

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.

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 things I love about cinema is the range.

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

Over the years, there has been an intermingling of film and aircraft. This relationship has generated all kinds of movies, including those filmed in San Diego.

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.

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.

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.

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

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.

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.

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.

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.

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