Best 605 quotes in «cinema quotes» category

I'm back... and you knew I was coming. On my way here I passed a cinema with the sign 'The Mummy Returns'.

I mean, "The Jinx" is an amazing piece of cinema and amazing television moment, it`s rare documentarians can feel the direct impact of their work.

I mean, the paradox is that whereas the screen, it seems to me - the cinema can absorb endless amounts of music, it cannot really with comfort absorb large amounts of words. Not nearly as many words, that is to say, as a stage can.

I'm interested in the cultural thing - music, then eventually cinema. I think it's part of my struggle as a cultural worker. I'm not into the armed thing. I cannot be violent.

I'm in the early stages of a film called 'Freezing Time' about Eadweard Muybridge, the Victorian photographer who was really the forefather of cinema. Digital animators still treat his images like the Bible. He was a very obsessed man.

I’m just a storyteller, and the cinema happens to be my medium. I like it because it recreates life in movement, enlarges it, enhances it, distills it. For me, it’s far closer to the miraculous creation of life than, say, a painting or music or even literature. It’s not just an art form; it’s actually a new form of life, with its own rhythms, cadences, perspectives and transparencies. It’s my way of telling a story.

I'm not a fan of action movies. I don't watch many action movies, I don't have a lot of references except for 70s action movies or cinema noir.

I'm not coming from film school, I learned cinema in the cinema watching films.

I'm not coming from film school. I learned cinema in the cinema watching films, so you always have a curiosity. I say, 'Well, what if I make a film in this genre? What if I make this film like this?'

I'm not hoping to see that day but I know that my cinema will reach Filipinos. I know that they will embrace it one day. It will happen. I'm very sure of that. I still have faith in cinema. I still believe it can affect change.

In Berlin Jews controlled almost one hundred percent of the theaters and cinemas before the rise to power.

I'm under the impression that this notion of decency is disappearing from our society where conflicts are made worse on cinema and on television, where people are nasty and cruel on the Internet and where, in general, everybody seems to be very angry.

I'm working in a form of cinema that can be described, and has been described, as a diaristic form of cinema. In other words, with material from my own life. I walk through life with my camera, and occasionally I film. I never think about scripts, never think about films, making films.

Inasmuch as it's a culture, cinema is the only thing at our disposal with which we can recognize ourselves in today's images. As an instrument it's inevitably inadequate, but it's the only one.

IN CINEMA IT IS NECESSARY NOT TO EXPLAIN, BUT TO ACT UPON THE VIEWER'S FEELINGS, AND THE EMOTION WHICH IS AWOKEN IS WHAT PROVOKES THOUGHT.

Indian cinema seems to be growing very well at its own pace.

In American cinema, people will take a chance on you, though they'll often remind you that really, they always liked you.

In a sense I feel very much a part of the cinema now in a way where when I come back to the theater now I feel like a visitor. The cinema is really what I enjoy. I want to do more independent movies.

In cinema, the leading player is the director.

I never go to the cinema. I can't stand sitting in the dark with strangers -- all of us obliged to share the same emotional experiences -- it's too intimate. I like to be emotional in private.

I never got in this business, in cinema, to make horror movies. They arrived on my doorstep and I got typecast. Which was fine, I enjoy it, but I got into this business to make westerns. And the kind of westerns I used to see, they died. So that didn't work out.

In football you have an adversary; in cinema that adversary is yourself.

In general I'm more attached to a cinema that tries not to replicate the real world and life.

In France, if you have any sort of talent, you'd better keep it here. And if you're going to go abroad, it had better not be America. The old battle - American versus Frog cinema. It's ridiculous.

Instead of watching DVDs at home, I prefer going to the cinema to get the experience.

In Majorca, I can be myself. I go to the supermarket and the cinema, and I am just Rafa. Everyone knows me, and it is no big deal. I can go all day - no photographs.

In my films, I hope there are a few moments where you feel almost illuminated, like in a state of ecstasy, stepping out of yourself, beyond yourself and perceiving something which is only, in the case of cinema, possible in collective dreams.

In L.A., cinema and television might be seen as more interesting places for architecture than ever before.

In terms of popular cinema, 'One Flew Over the Cuckoo's Nest' is as near perfection as I can think of.

In terms of cinema and filmmaking, there are certainly the unexpected gifts that the actors bestow on you. Film is always a question of compromises with respect to what you originally intended.

In the theater there are 1,500 cameras rolling at the same time - in the cinema, only one.

In the dance, one finds the cinema, the comic strips, the Olympic hundred meters and swimming, and what's more, poetry, love and tenderness.

In the film industry, all the money is focused on television and the stupidity of American cinema.

IN THE CINEMA A DIRECTOR EXPRESSES HIS INDIVIDUALITY FIRST AND FOREMOST THROUGH HIS SENSE OF TIME, THROUGH RHYTHM. RHYTHM GIVES COLOUR TO A WORK BY DISTINGUISHABLE STYLISTIC CHARACTERISTICS. RHYTHM MUST ARISE NATURALLY IN A FILM, A FUNCTION OF THE DIRECTOR'S INNATE SENSE OF LIFE AND COMMENSURATE WITH HIS QUEST FOR TIME.

In the evening he went to the cinema to see "The Lord of the Rings", which he had never before had time to see. He thought that orcs, unlike human beings, were simple and uncomplicated creatures.

In this type of cinema, whether working with actors or non-actors, as much as you do direct them, if you allow yourself to be directed by them, then the end result will be much more pleasing. The real and individual strengths of the actors is allowed to be expressed and is something that does affect the audience very deeply.

I really believe musical form will go on. There's got to be a way of making musical form in cinema live again.

I pity the French Cinema because it has no money. I pity the American Cinema because it has no ideas.

I really believe the form of the film must be in the scenario; cinema is not just added value to the scripting. I believe in it as a totality.

I really have problems with horror movies. I don't watch them. It's a feeling I don't want to have in cinema. I'm too reactive. It's too draining to watch that kind of movie.

I really wanted to take the viewer to the 'here and now' regarding the exterminations, and communicate directly in a visceral way. The art of cinema can communicate that way, and that's why I wanted to do it that way.

I see horror as part of legitimate film. I don't see it as an independent genre that has nothing to do with cinema.

I remember driving around with my parents when I was little and looking out of the window and being very aware that it was the shape of a film screen when you went to the cinema. This was how I first saw the world, framed through a car window.

I saw that the camera could be a weapon against poverty, against racism, against all sorts of social wrongs. I knew at that point I had to have a camera.

I seldom feel comfortable in a theatre. I always feel like I own a cinema. I feel equally happy in an empty one as a full one. Probably happier in an empty one!

I see the carpet reflecting that narratological structure of the storytelling, with Scheherazade as the outside frame story on the outside, with the stories woven on the inside. It's also demonstrative of the infinity of it, with no beginning and no end. The carpet is also a kind of metonym for cinema, this idea that the flat surface carries a terrific depth of imaginative field while remaining totally flat.

I think cinema has this beautiful component. It's a universal language.

I still would like you to feel the enthusiasm that all those people felt in the twenties and thirties, that indeed we had discovered, with cinema, the great 20th-century, all-embracing medium.

I think American cinema, particularly, has become so disposable. It's not even cinema, It's just moviemaking.

I think cinema should provoke thoughts, sure, but using it as I soapbox I think is the wrong place.