Best 605 quotes in «cinema quotes» category

Relating a person to the whole world: that is the meaning of cinema.

Sequels are not done for the audience or cinema or the filmmakers. It's for the distributor. The film becomes a brand.

Some of it was shot in Berlin, but a lot of it was filmed in Hamburg, along the Reeperbahn in Hamburg in the famous red light district. Kino is obviously German and "film" and "cinema" and we were always cinematic in our thinking.

So what'll happen is there'll be some very good cinema experiences are going to see 3D where you have to pay more. And there'll be some bad experiences of going to see movies in 3D. And I just hope that this kind of gold rush mentality doesn't kill what could actually be something that really, really benefits the industry.

Sometimes I have better relationships with my barber then with people who are into cinema from an upper class.

Sometimes you also work with people who don't explain or express to you what they're actually looking for from the shot but you haven't got that problem with this because whatever you're going to do, whether it's good or bad, will get picked up. So, in that way I guess it's pure cinema.

That's the thing with independent cinema: They all get good reviews, and they don't make money. Some of them are good. Some are great. And some are terrible.

[Sundance] still feels significant. I don't think you can help but come here and not feel that sense of history and its significance in influencing film. And I think it still does. Some of that is based on history, but it's also based on really incredible programmers who are showcasing such an incredible variety of cinema.

Ten Days That Shook The World, by Eisenstein, I went to see it, and I was so impressed with this film, so impressed with what cinema could do.

That sort of detailed filmmaking is one, hard to do and not have it be pretentious, and two, have it tell the story, which is what you're taught, that cinema is the language of images and you really should be able to make a film with no dialogue and tell a story.

That's what I like about film-it can be bizarre, classic, normal, romantic. Cinema is to me the most versatile thing.

Stepping into the "shoes" of someone's life other than my own, great movies such as 'Cinema Paradiso,' scenic landscapes, the work of Daniel Day-Lewis, the books of Joel Goldsmith, traveling, doughnuts, ice cream.

That's the funny thing about cinema, it is an intellectual medium, but it's also sort of anti-intellectual.

The American independent cinema is as formulaic as Hollywood and one genre is what you might call the 'inaction movie'. The setting is invariably a decaying town in a regional backwater where a catalytic stranger or returning native meets up with a group of sad, eccentric outsiders.

The BFI exists to celebrate all poets of world cinema, of the past and present.

The appeal of cinema lies in the fear of death.

The blue collar milieu was something that I really understood and resonated with me and I thought was underrepresented in American cinema.

The British cinema had been very dull and conformist.

The cinema has the power to make you not feel lonely, even when you are.

The cinema, as literature, as all the plastic arts, do not exist outside of a critical system that allows us to study them.

The cinema has no boundary; it is a ribbon of dream.

The cinema is going to form the mind of England. The national conscience, the national ideals and tests of conduct, will be those of the film.

The Cinema seems to have been invented to express the life of the subconscious, the roots of which penetrate poetry so deeply

The cinema, like the detective story, makes it possible to experience without danger all the excitement, passion and desirousness which must be repressed in a humanitarian ordering of life.

The cinema is an institution nowadays, with its roots sunk deep in the hearts of the millions of people who find enjoyment and entertainment in going to the pictures.

The cinema that interests me departs from realism.

The cinema substitutes for our gaze a world more in harmony with our desires.

The cinema was certainly an art, but television can't be, because it is the museum of accidents. In other words, its art is to be the site where all accidents happen. But that's its only art.

The cinema is not an art which films life: the cinema is something between art and life.

The convergence of the Rhone and Saone. Paul Bocuse. The birthplace of cinema. Chateauneuf-du-Pape just a few miles down the road. It does not get much better than Lyon.

The cinema is really built for the big screen and big sound, so that a person can go into another world and have an experience.

The films that I go to see at the cinema are not Hollywood blockbusters particularly. I've not got anything against them... I'm in them! But I don't go and spend my money on them.

The fact of the matter is fame predates even the age of cinema. There's always been fame, there's always been the caveman who's prettier or killed a bigger lion, or somebody started a story about a guy.

The future of cinema and communications is all about collaboration and the decentralized control of storytelling. We're all part of the story; we can all contribute and participate.

The landscape of cinema is not original. Not to say there aren't great movies being made, but it's much easier for studios to make movies that have built-in audiences. So it's all remakes, adaptations, a lot of remakes of adaptations.

The greatest danger for those working in the cinema is the extraordinary possibility it offers for lying.

The idea that cinema can be dangerous is a great idea.

The Germans were much more graphical. The expressionism is much more than cinema. It was a movement with artists, painters, music and architecture, so it's really graphic and visual. And the French were something else.

The Iranian government as a whole has no relationship with my films. They're not particularly interested, perhaps this kind of cinema is not very interesting to them.

'The Jungle Book.' It's one of the best animated films ever. I saw it when I was small at a cinema in Tehran.

The Last Of England works with image and sound, a language which is nearer to poetry than prose. It tells its story quite happily in silent images, in contrast to a word-bound cinema.

The Lego Movie: Merely a great film, or the greatest film ever in the history of cinema?

The language of prose is very different than the language of cinema, so the movie has to successfully translate what was in the book.

The most important question in American cinema, I've learned, is 'When is lunch?'

The most delightful aspect about the language of cinema is that it speaks to each of us in different ways - it is a purely subjective experience.

The Oriental approach to violence is a much more aesthetic and poetic approach, whereas in the western world, violence is put in because you can't solve the problem. Violence is always the last solution, but unfortunately, in cinema, it's the first solution, because it's easy. And it's often too easy.

The one-word cinema wasn't possible for me anymore. I'd hit a wall, a dead end. Therefore I thought I'd turn back.

The page has turned. Cinema is finished for me.

There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization.

The pay window will be: you can choose how and when you see, whether you see it on Comcast or Warner's Cable delivery system or Sky in the UK or you can buy it through Apple, or you might even buy it directly from the studio's site. Who knows? But that will be it. You'll go to the cinema and you'll find a way of digitally interacting with the piece; you'll either buy it or rent it or whatever.