Best 605 quotes in «cinema quotes» category

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.

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.

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

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.

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

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.

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

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

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

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.

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

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.

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.

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

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

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

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

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.

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.

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 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 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.

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.

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

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.

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 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 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!