Best 605 quotes in «cinema quotes» category

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

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.

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.

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

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

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.

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

Work in the theater sharpened my verse and my cinema.

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.

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.

[...] 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

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.

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.

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.

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

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

Art depicts life and life depicts art.

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

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.

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.

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.

Cinema is a language. It can say things—big, abstract things. And I love that about it. I’m not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you’ve got time and sequences. You’ve got dialogue. You’ve got music. You’ve got sound effects. You have so many tools. And you can express a feeling and a thought that can’t be conveyed any other way. It's a magical medium. For me, it’s so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. It's not just words or music—it’s a whole range of elements coming together and making something that didn’t exist before. It’s telling stories. It’s devising a world, an experience, that people cannot have unless they see that film. When I catch an idea for a film, I fall in love with the way cinema can express it. I like a story that holds abstractions, and that’s what cinema can do.

Cinema – all art really – has great power. Power to illuminate. Power to transform. For those of us who experience film as literature, classic movies comprised an introductory education in the genre. As kids, many of us went searching through library shelves for obscure source novels after seeing some old movie or other. It was the start of many an adventure.

Cinema is the ultimate pervert art. It doesn't give you what you desire - it tells you how to desire.

Cinema is a very difficult and serious art, it requires sacrificing of yourself. You should belong to it, it shouldn't belong to you. Cinema uses your life, not vice versa.

De todas as pessoas que conheci, Federico vem em primeiro lugar. Não falo nem de seu teatro nem de sua poesia, falo dele. A obra-prima era ele. Parece inclusive difícil imaginar alguém comparável. Quer ao piano imitando Chopin, quer improvisando uma pantomima, um esquete teatral, era irresistível. Podia ler qualquer coisa, a beleza sempre jorrava de seus lábios. Ele tinha a paixão, a alegria, a juventude. Era uma labareda. Quando o conheci, na Residência dos Estudantes, eu era um atleta provinciano bem tacanho. Pela força da nossa amizade, ele me transformou, me fez conhecer outro mundo. Devo a ele mais do que consigo dizer. Seus restos mortais nunca foram encontrados. Lendas circularam sobre sua morte, e Dalí – de um jeito bem ignóbil – chegou a falar em crime homossexual, o que é totalmente absurdo. Na realidade, Federico morreu porque era poeta. Nessa época, do outro lado, ouvia-se gritar: “Morte à inteligência!

Culture is fundamental. Literature saves you. Cinema saves you.

Dying is not a solution.. I want to live with You..!

During the 1924 controversy over ownership of the word “surrealism,” Breton’s most vocal opponents were Ivan Goll and Paul Dermée who, like Epstein, defined surrealism via cinema.

Don't be a zombie for anyone, if your oppressor likes zombies, cinemas are not located in mars.

Don't chase movies let movies chase you.

Entertain, but also, give the viewer something to think about.

Elle me rappelle la phrase de ce célèbre journaliste américain, Walter WINCHELL, "Hollywood crée beaucoup d'images et peu d'acteurs.

Film analysis enables us to recognize how the filmmakers have their magic on us, how all the constituent elements of the film have combined to create that magic. Rather than rob us of the pleasures of watching films, this approach affords us the even greater pleasure of deep engagement

Filmmaking has the power to fortify the feeble, unify the divided, raise the abandoned and inspire the ignorant.