Best 605 quotes in «cinema quotes» category

Everyone is looking for a purpose in life. The reason we all go to the cinema, or online, is because we haven't found a purpose yet. We are always wondering why we're here. But I've learned that we have to create that purpose for ourselves. My purpose, which I finally found thanks to social media, is helping all of these people find their purpose.

Everything encourages you not to tell stories of gay lives. There is no economy yet for that kind of cinema.

Every viewer is going to get a different thing. That's the thing about painting, photography, cinema.

Feudal societies don't create great cinema; we have great theatre. The egalitarian societies create great cinema. The Americans, the French. Because equality is sort of what the cinema deals with. It deals with stories which don't fall into 'Everybody in their place and who's who,' and all that. But the theatre's full of that.

Film has become a marketed commodity, and the opportunities and audiences for art cinema have grown smaller. There is a general downturn in cultural literacy, perhaps because of television.

Film students should stay as far away from film schools and film teachers as possible. The only school for the cinema is the cinema.

For any movement to emerge, it has to be innovatively independent from the mainstream cinema, and I don't see that much.

For me and my films I want my audience to experience cinema in its full glory. It's not just visual, it's audio as well. It's emotional and I want you to be engaged with not just the scene but with the characters.

Foreign capital to build new cinemas will help modernize China's aging cinema infrastructure, attract Chinese consumers back into cinemas, and increase demand for U.S. films.

Forget the grand plan. Forget the master scheme. Forget control. That is the bleak but true basis of independent cinema. Inch by motherfuking inch we must, because we have no other choice.

For me, cinema becomes grandiose when it imposes its own mythology and its own reality.

For me cinema is not primarily entertainment. I don't watch fun blockbusters myself.

For example, in painting the form arises from abstract elements of line and color, while in cinema the material concreteness of the image within the frame presents - as an element - the greatest difficulty in manipulation.

For me, filmmaking combines everything. That's the reason I've made cinema my life's work. In films, painting and literature, theatre and music come together. But a film is still a film.

For me, the cinema is not a slice of life, but a piece of cake.

For so many filmmakers, cinema is a means to an end.

For the last 30 years our cinemas have been ruled by science fiction and horror. We've had some very good Fantasy films in that time period, but for my tastes I still haven't seen fantasy done to absolute perfection. That is the hope I have in this project.

French cinema allows women to look... a certain way and be talented at the same time.

French cinema audiences usually don't express anything. Certainly not satisfaction.

Give me B movies or give me death!

From a dramatic viewpoint, there are few professions that grant their members entry into other lives, high among them cops, doctors, clergymen, journalists and prostitutes. Perhaps that explains why they figure in so much television and cinema. Their lives are lived in the midst of human drama.

From where I sit I see the digital cinema creating sloppiness on the part of filmmakers because they know if they really get in trouble they can fix it later. So they don't pay that much attention, and of course it costs a lot of money.

Garbo still belongs to that moment in cinema when capturing the human face still plunged audiences into the deepest ecstasy, when one literally lost oneself in a human image as one would in a philtre, when the face represented a kind of absolute state of the flesh, which could be neither reached nor renounced.

Going to the cinema is like returning to the womb; you sit there, still and meditative in the darkness, waiting for life to appear on the screen.

Hollywood is a town; it's not a medium. And cinema is a medium you can practice anywhere.

Having a movie that lasts and makes your image imprinted into the history of cinema, it's very positive.

Hollwood creates useful entertainment. There are millions of people on earth who need distraction and American cinema fulfills that function.

Hollywood has its own way of telling stories. I was just telling stories that I was familiar with. And it's what I want to do in the future: I want to take my audio cinema and put it on the screen.

Hong Kong cinema is something you can't duplicate anyway.

I acknowledge Mike Leigh and Ken Loach. They are prostlytizers of English socialism preaching to the converted and telling us what we already know. Cinema is best served away from documentary neo-realism. I come from a tradition of post-post-Italian neo-realism in England, where we've produced the best television in the world. But to paraphrase Truffaut, the English have no visual imagination.

I am not ready to fit into the mould of commercial cinema.

I am an entertainer. Cinema is entertainment. It is nothing more than that.

I am a child of cinema, and I am a cineaste, so everything I do is a reference to something I've heard or experienced or seen. And we all do it, we all steal. The ones who claim they don't, are obviously lying, because you do. You just have to make it your own.

I am an animator. I feel like I'm the manager of a animation cinema factory. I am not an executive. I'm rather like a foreman, like the boss of a team of craftsmen. That is the spirit of how I work.

I am really not interested in the cinema. I loathed it when I started six years ago, and I don't enjoy it even now.

I am really not interested in the cinema.

I am not interested in making didactic polemical statements. That is not the way I want to make films. There is a place for polemics, but I don't think that it is in fictional cinema. Fictional cinema works subtly and deeply.

I am still associated with a heroic period in French cinema, and my name remains linked to this period.

I am very happy to be part of European and world cinema as a British filmmaker.

I am young enough to try my hands at all kinds of cinema.

I am waiting for the right story to tell. Just like 'Man of Tai Chi' just seemed to be the right story to tell. So I'm looking for that. Because I really love directing. I love developing the story. I love actors. I love the cinema of it, the way that you tell a story visually.

I ask of cinema what most North Americans ask of psychedelic drugs.

I asked the producers when I was doing 'Y Tu Mama Tambien' if they could give me a VHS recording of the film that I could show to my family, because in Mexico and Latin America, when you do a film, you don't expect anybody to see it, especially not in the cinema.

I can't remember what the last film I saw was, as I can't smoke or drink in cinemas.

I bask in the affection I get on the streets. I recently went into the kitchen of a restaurant to meet the cooks. They were people I didn't know, but what a joy it was meet them! Such experiences wouldn't happen if I were doing only one kind of cinema.

I became producer so that I could work with persons like him and to rock the world of Hong Kong Cinema a bit.

I believe that perfection handicaps cinema.

I came from a very avant-garde documentary kind of film making world. I like cinema verité, documentaries. I liked non-story, non-character tone poems. And that's the film making that I was interested in.

I definitely felt that I was put at a very high place to be able to be a part of such a wonderful franchise in cinema history, so I was definitely very driven at doing a great job and having my body look the way it should and just being a part of the creative process.

I could almost say it is my religion. I guess that sounds pretentious, but I want to live and breathe cinema.