Best 605 quotes in «cinema quotes» category

Ton public n'est ni le public des livres, ni celui des spectacles, ni celui des expositions, ni celui des concerts. Tu n'as à satisfaire ni le goût littéraire, ni le théâtral, ni le pictural, ni le musical.

Ugarte: You despise me, don't you? Rick: If I gave you any thought I probably would.

Use filmmaking to eliminate racism – use to it terminate misogyny – use it to destroy homophobia and all other primitiveness.

Use filmmaking for a greater purpose, than to just entertain some drowsy minds. Wake the whole world up with your movies. It has been sleeping for long. Its eternal sleep has become its darkest nemesis. Now is the time to wake it up.

Usually when you see females in movies, they feel like they have these metallic structures around them, they are caged by male energy.

When people see things that are strange & creative & they're like "the creator must have been on drugs!" it's like "no. you are just boring

Well, as I was saying, it costs a lot to be authentic, madam. And one can't be stingy with these things, because you are more authentic the more you resemble what you've dreamed you are. - Agrado from "Todo Sobre Mi Madre

...we’re not even really hiking, more like meandering in cinematic light.

Whatever genre you deem suitable for your taste – romance, comedy, action, mystery, sci-fi or anything else, make sure it has the plain everyday human kindness.

When it comes to the selections, I heard several observers claim that the Academy was embracing “nostalgia” by honoring The Artist and Hugo. Give me a break! Hugo represents cutting-edge storytelling by a world-class director—in 3-D, no less. The Artist dares to revisit a form of cinema that was abandoned in the late 1920s. The Academy members admired these films for making the past seem immediate and relevant. That has nothing to do with nostalgia; it has everything to do with great moviemaking, which is what the Academy Awards are all about.

90 percent of Indian cinema is crap

When we leave the realm of cinema, it is obvious that the dynamics of white supremacist capitalist patriarchy---which has historically represented black females as "undesirable mates" even if they are desirable sex objects, and so rendered it socially unacceptable for powerful white males to seek committed relationships with black women---continue to inform the nature of romantic partnership in our society. What would happen to the future of white supremacist patriarchy if heterosexual white males were choosing to form serious relationships with black females? Clearly, this structure would be under mined. Significantly, The Bodyguard reaffirms this message. Frank Farmer is portrayed as a conservative Republican patriarch, a defender of the nation. Once he leaves the black woman "she devil" who has seduced and enthralled him, he returns to his rightful place as keeper of the nation's patriarchal legacy. In the film, we see him protecting the white male officers of state. These last scenes suggest that loving a black woman would keep him from honoring and protecting the nation.

While routine and mundane jobs may be ridiculed or looked down upon in some circles, the fact is that these jobs provide livelihood to millions of people. A good information technology company in India employs thousands of professionals every year giving them decent salaries. However, in fields such as politics, writing, cinema or arts, there are very few people who come on top, and those who do, end up taking home almost all the rewards, leaving little for the runners-up or the bottom rankers.

A census taker once tried to test me. I ate his liver with some fava beans and a nice chianti.

A film in which the speech and sound effects are perfectly synchronized and coincide with their visual image on the screen is absolutely contrary to the aims of cinema. It is a degenerate and misguided attempt to destroy the real use of the film and cannot be accepted as coming within the true boundaries of the cinema.

A decade or so ago, all over the world, cinemas underwent one of those prince-into-frog mutations, and became, instead popcorn-restaurants, which offered the option of visual diversions for diners.

A large part of my filmmaking self has to do with my love of being in the cinema audience, and my relationships to what I want to see on the screen, what I have seen on the screen and what I don't want to see on the screen again.

After 100 years, films should be getting really complicated. The novel has been reborn about 400 times, but it's like cinema is stuck in the birth canal.

[Alfred] Hitchcock was very interested in the image on the screen.As is any good cinema director. That is the language they speak. It is not literature, it is images on screen.

African cinema doesn't have an African industry at all and that's where our problem arises. We come to all of these initiatives with a lot of suspicion because we're so inhabited by the notion of being colonized, the post-colonial thought that someone wants us to do something that is their interest and not ours and even it's not true, there's the suspicion of it like where is this going?

After you've learned two or three basic rules of cinema grammar, you can do what you like - including breaking those rules.

A literary work can only be received through symbols, through concepts - for that is what words are; but cinema, like music, allows for utterly direct, emotional, sensuous perception of the work.

All history is defined by shifting modes of reality and time and how things change. That’s what I love about cinema. It changes in the moment.

Any film I do is not going to change the way black women have been portrayed, or black people have been portrayed, in cinema since the days of D.W. Griffith.

All my life, I have loved and been inspired by French cinema, and as a studio head it has been my pride and joy to have the ability to bring movies to audiences around the world.

American capitalism finds its sharpest and most expressive reflection in the American cinema.

American cinema is international like the fairy tales were international.

American films are the best films. This is a fact. Cinema is - along with Jazz - the great American art form. And cinema in a very real sense created the American identity that has been exported around the world.

A movie tends to box you in, at least as far as the aesthetics. You have an incredibly kinetic experience, which is the joy of cinema.

Anyone who's made film and knows about the cinema has a lifelong love affair with the experience. You never stop learning about film.

A lot of times in cinema today the women are overly sentimental, so I constantly try to do the opposite. I like strident women.

American cinema tends to express a patriotic relationship to national identity on a regular basis.

American films, it's a money-making industry. And in France, you can find great respect for cinema as art.

Americans don't understand what metaphor in cinema is about. They're extremely good at making straightforward, linear narrative movies, which entertain superbly. But they very rarely do anything else.

A message I've been telling myself: the cinema is very conservative, and unless you have a story that satisfies you, that is within the unchallenging zone, but you love it, you can't do it as cinema. Otherwise, you better go do it for television, which is more daring now.

And Twin Peaks, the Film is the craziest film in the history of cinema. I have no idea what happened, I have no idea what I saw, all I know is that I left the theater floating six feet above the ground.

Anybody who comes to the cinema is bringing they're whole sexual history, their literary history, their movie literacy, their culture, their language, their religion, whatever they've got. I can't possibly manipulate all of that, nor do I want to.

Asian American men, Asian men have been basically eunuchs in American cinema and television.

["Aquarius"] it had a bit of a rocky arrival in cinemas because we were given the 18+ rating, which did not make any sense in terms of the Brazilian rating system for a film like this.

Architecture exists, like cinema, in the dimension of time and movement

As a matter of fact, I find the Western cinema very fantastic.

Blade Runner is one of my favorite films. But, so many thing influenced me that aren't science fiction because they were just good drama. I grew up watching a lot of French cinema. I was in love with The English Patient, and movies that are very romantic in nature and have a positive message. That's a large part of my fingerprint.

A specter is haunting the cinema: the specter of narrative. If that apparition is an Angel, we must embrace it; and if it is a Devil, then we must cast it out. But we cannot know what it is until we have met it face to face.

At times doc filmmaking feels more rewarding creatively. Because you are creating something out of pure cinema - instead of narrative cinema, where you've got a script and a cast and you build from your foundation, whereas in documentary, you're building out of chaos.

As they say in Corsica... Goodbye!

Being the director is really something. It's a statement of something and you have to stand up for that. Okay, this is what I see. This is how I see the world. This is how I see cinema. And you have to be able to talk about that and explain it and be responsible.

Be smart, but never show it.

Bicycle Thief is a triumphant discovery of the fundamentals of cinema, and De Sica has openly acknowledged his debt to Chaplin.

But Hitler didn't strive for the annihilation of the Jews - he stressed that fact in public life and in the newspapers. Hitler merely said at the beginning that Jewish influence was too great, that of all the lawyers in Berlin, eighty percent were Jewish. Hitler thought that a small percentage of the people, the Jews, should not be allowed to control the theater, cinema, radio, et cetera.

But I think that the spirit of protectionism would be the grave of European cinema. You cannot protect something by building a fence around it and thinking that this will help it survive.