Best 605 quotes in «cinema quotes» category

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.

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.

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

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.

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

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

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.

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

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.

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

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.

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

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

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

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

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

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.

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.

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

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

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 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 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.

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.

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

What puzzles most of us are the things which have been left in the movies rather than the things which have been taken out.

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

When I go the cinema, unfortunately nowadays, especially with the big commercial films, the audience is spoon-fed through the entire experience and they don't have to do any work.

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 go to the cinema I watch all different kinds of films.

When I was a young man, my friends and I and all of us in New York were very influenced by French cinema. French cinema played an enormous influence on those of us who wanted to be filmmakers.

When I was 16 I discovered this island called cinema and I thought: 'Oh how wonderful, I'm ready.

When I was ten, I had a weird cinema party where I invited everybody from my street to come. I pretended I was an usher and tried to sell them all popcorn.

When people see what real 3D looks like, they'll go, "Oh, that's why I spend an extra $5 a cinema ticket. That's worth it!

When making a film, I'm never concerned about whether the theme is new or whether it's been done before in cinema or not. I'm led to make films if there's a theme that interests me or I experience something in my own life that confronts me with something that I want to deal with.

When I'm writing, it's about the page. It's not about the movie. It's not about cinema. It's about the literature of me putting my pen to paper and writing a good page and making it work completely as a document unto itself. That's my first artistic contribution. If I do my job right, by the end of the script, I should be having the thought, 'You know, if I were to just publish this now and not make it . . . I'm done.

When you go to the cinema you look up, when you watch television you look down.

Whether people are making narrative cinema or experimental cinematic movie experiences, they all want the biggest screen possible and the quietest room and the most attention to every nuance and detail. Obviously, most people will not see the movie that way, but I can still hope for it, and I'd like to think we will be able to pull it off this time.

Why would anything change that has not been changed since the existence of cinema? [James] Baldwin somehow wakes you up to reality. It takes you out of the dream - or out of the nightmare.

When you have something that brings a real emotion, that's the power of cinema.

Why does there exist a global American entertainment industry, but there isn't an equivalent coming from France or Italy? This is the case simply because the English language opens the whole world to the American cinema.

Without a doubt, I was born to want to make cinema, but the kind of cinema I want to make is not like commercial movies, which I enjoy myself, but I wanted to be the kind of filmmaker who wrote original work, sort of like a novelist would who deals with who we are and our times or our relationships.

When you're so passionate about cinema, the idea to direct your own film is really appealing.

Work in the theater sharpened my verse and my cinema.