Best 605 quotes in «cinema quotes» category

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

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.

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

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 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 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.

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

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

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

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

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.

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

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.

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.

You see thousands of films you forget the minute you come out of the cinema, don't you? Because they don't mean anything. It's the tough ones like 'Breaking the Waves' and 'Nil By Mouth' that stay with you, that you never forget. I'd like to leave a few of those behind if possible.

You can never fully put your finger on the reason why you're suddenly, inexplicably compelled to explore one life as opposed to another.

you have often seen in the cinema, erich, haven't you, that between extraordinary people extraordinary things like for example extraordinary love can arise. so we only have to be extraordinary and see what happens.

Work in the theater sharpened my verse and my cinema.

Writers would hate me saying this, and I love words, but I have to say that cinema exists, on one level, for the power of the big image and what that image does.

You become a film critic because you're interested in film. I don't know whether knowing so much about cinema leads you to make better films, but it certainly can't hurt.

You can't have cinema by committee if you're trying to do it well.

You don't have to know how to make a movie. If you truly love cinema with all your heart and with enough passion, you can't help but make a good movie.

A movie is not a movie, it is a potential nuclear furnace of inspiration, courage and conscience.

[...] a inizio Ottocento, sotto l'influsso delle nascenti teorie sociologiche, ma anche di quelle pedagogiche rousseauiane e pestalozziane, il bambino venga finalmente visto come un protagonista del progetto sociale, sia in termini educativi e di utilità sociale. A ciò si accompagna l'introduzione della scuola pubblica e dell'obbligo scolastico (con tempi diversi) nei vari paesi europei, senza tuttavia trascurare, ma anzi favorendo l'aspetto che lo vuole "piccolo consumatore", al quale destinare un numero sempre crescente di attenzioni e prodotti specifici. - pag. 39

All art is portraiture and all art is political: those are the things that you cannot avoid. When someone sees you in your entirety for who you are, that’s the greatest act of love, because it’s granting you existence. And the rarest act of love is, like cinema, to see.

All you need for a movie is a gun and a cat.

Borges's extreme architecture attempts to visualize the universe by assigning to every object real and unreal, now and yet to come, a code or sign, a corresponding figure within the Library. It seeks to render totality visible, to effect a total visibility and visuality. The Library of Babel is a view of the universe inside and out, an X-ray of the universe and universal X-ray, seen from within and without. It is a representation of everywhere: a perfect duplication of the universe. And of you: universal. An endless and eternal cinema, an imaginary archive that extends into the universe until it is indistinguishable from it, until you are indistinguishable from the universe.

Art depicts life and life depicts art.

Bette Davis lived long enough to hear the Kim Carnes song, 'Bette Davis Eyes'. The lyrics to that song were not very interesting. But the fact of the song was the proof of an acknowledgement that in the twentieth century we lived through an age of immense romantic personalities larger than life, yet models for it, too - for good or ill. Like twin moons, promising a struggle and an embrace, the Davis eyes would survive her - and us. Kim Carnes has hardly had a consistent career, but that one song - sluggish yet surging, druggy and dreamy - became an instant classic. It's like the sigh of the islanders when they behold their Kong. And I suspect it made the real eyes smile, whatever else was on their mind.

A sex worker deserves a billion times more respect, than the mystical fraudsters of the society, such as astrologers, psychics and tarot card readers.

Cannes was to blame, he told himself defensively. It was a city made for the indulgence of the senses, all ease and sunshine and provocative flesh. “What had he seen, what had he learned? He had seen all kinds of movies, good and bad, mostly bad. He had been plunged into a carnival, a delirium of film. In the halls, on the terraces, on the beach, at the parties, the art or industry or whatever it deserved to be called in these few days was exposed at its essence. The whole thing was there—the artists and pseudo-artists, the businessmen, the con men, the buyers and sellers, the peddlers, the whores, the pornographers, critics, hangers-on, the year’s heroes, the year’s failures. And then the distillation of what it was all about, a film of Bergman's and one of Bunuel's, pure and devastating.

But that the white eye-lid of the screen reflect its proper light, the Universe would go up in flames.

But this is the ultimate contradiction of cinema. It's a medium BORN of technology, AFRAID of technology and evolving towards the future BECAUSE OF technology.