Best 605 quotes in «cinema quotes» category

I think American cinema, particularly, has become so disposable. It's not even cinema, It's just moviemaking.

I think anyone who knows me at all knows that I have been a movie addict all my life. I grew up in a city obsessed by cinema and where there are cinemas on every street corner.

I think cinema has this beautiful component. It's a universal language.

I think cinema should provoke thoughts, sure, but using it as I soapbox I think is the wrong place. I never want to be part of something like that, where there's an agenda there that's not about telling a story, where its someone getting on a soapbox and preaching their own beliefs onto somebody.

I think cinema should provoke thoughts, sure, but using it as I soapbox I think is the wrong place.

I think most people, no matter their status now, have big screen TVs, because they're the standard TVs now. And so why would you go to the cinema?

I think it's restrictive to typecast myself as a novelist because I enjoy other forms of expression. I love literature and I love cinema.

I think film is about images. Cinema needs good images. I think that if you don’t have good images, it’s not going to be a good film. I think all films should be really visual.

I think part of the reason ideas haven't come in is that the world of cinema is changing so drastically, and in a weird way, feature films I think have become cheap. Everything is kind of throwaway. It's experienced and then forgotten.

I think my dyslexia was a vital part of my development because my inability to read and write meant that I had to find knowledge elsewhere so I looked to the cinema.

I think my films are always quite self-reflexive and always question 'why am I doing this, is this the right way to do it, what is cinema for, does it have a purpose?

I think that there's a very lucid side in cinema: entering a theater and seeing the film.

I think that in the American film industry - or even in the European cinema - movies are made not to disturb any kind of class or any kind of minority.

I think that it's not a bad thing to not be too versed in the vocabulary of cinema, because you start to think that certain things are allowed and not allowed.

It is also difficult to articulate the subtleties in cinema, because there aren't words or metaphors which describe many of the emotions you are attempting to evoke.

I think the problem with the cinema currently is that so much of the money that goes movies that offer a certain kind of repetition.

I think the cinema you like has more to do with silence, and the theater you like has more to do with language.

It's difficult to find new solicitations, new expressions. But this is talking about filmmaking. Cinema.

It is clear that through the partnerships between Global Cool and the International Indian Film Academy, Indian cinema has the potential to provide great leadership by exciting its enormous and enthusiastic audience to do their bit to save the planet

It seems to me that dominant cinema seems to require an empathy or a sympathy between the film and the audience which is basically to do with the manipulation of the emotions and it seems to me again -- and this is a very subjective position -- that most cinema seems to trivialise the emotions, sentimentalising or romanticising them.

It's easy to not work on my album. I go out to the cinema, catch up with friends, eat, watch "Curb Your Enthusiasm" - that sort of thing.

It's often pointed out that in Cuban cinema there are too many comedies, but a sense of humor is so much part of the Cuban idiosyncrasy. Curiously, the films that have been censored the most have been humorous.

It's like I'm stuck in a time bubble. Memories keep coming back, and of course, memories are a huge part of literature and cinema, from "Stand by Me" to "Blade Runner.

It's incredible how much cinema can do. We forget.

It's part of developing the whole state of how cinema is; everyone is looking out and engaged rather than it being just a financial thing or sitting back, waiting for scripts to turn up.

It was only in the early 1990s - during my student years as an aspiring scientist at Delhi University - that I discovered the world of cinema.

I turn a lot of stuff down - big, big movies, the kind I wouldn't want to go to the cinema to see.

It took a while for me to grasp that my colleagues believe I have made an impact on the history of cinema.

I've always considered movies evil; the day that cinema was invented was a black day for mankind.

I've always been drawn to a certain kind of dark aesthetic in cinema and in film, to what's abjected or considered abject. I've been tremendously influenced by noirish cinema whether that's Von Sternberg or Scorsese in the 70s or Lynch, etc.

I've always loved King Kong. He's like a modern-day myth, an icon of the cinema.

I've always had an innate ability to dance, but I'm not as spiffy as those cinema legends like Gene Kelly and Fred Astaire.

I've grown up around cinema. Michael Kamen was a very, very close friend of mine, sort of my godfather. So I know how much work goes into it. You have to know what you're doing.

I've always been a big proponent of point of view in cinema. Not necessarily that the point of view has to be subjective, but that in all great films the point of view has been taken into account and established.

I've been in love with the cinema since childhood and it's a fantasy of mine to appear in a Hollywood movie.

I've seen films that have made as much as $100, $200 million, but they're not films. They're images. They're flashes. They're many beautiful images, lots of things to look at. They capture you. But it's not a film. It's not something that involves you in a story. They go to cinema now to be blown away by the effects.

I was inspired by Maya Deren because she was the first woman filmmaker whose films I saw. I also loved Fellini and Goddard because they were so different from Hollywood films. But when I saw the cinema verite films that were made by Drew Associates with Leacock and Pennebaker I found my passion.

I was born at a bad time for Spain, but a really good one for cinema.

I went to the Tokyo Film Festival in Japan because I love Japanese cinema.

I wanted to make a cinema of ideas, not plots, and to use the same aesthetics as painting, which has always paid great attention to formal devices of structure, composition and framing.

I was raised in a family where cinema was a way of life. It was not only about making films, it was relationship, passion, love, everything at the same time.

I would always slip away to the cinema. I always found something absolutely extraordinary about the fact that these actors were always kind of kicking hard at some new dimension they were doing on film.

I would not like to have a homogeneous type of film. I wanted to go to many different kinds of ways of making cinema and telling stories and watching the country.

I work for the public, for the people who are paying to go to the cinema, rather than for the critics.

Just telling a story. That's cinema. It's not silent, black and white. It's a simple story that's well made.

I would not have made any of my films or written scripts such as Taxi Driver had it not been for Ingmar Bergman, What he has left is a legacy greater than any other director.... I think the extraordinary thing that Bergman will be remembered for, other than his body of work, was that he probably did more than anyone to make cinema a medium of personal and introspective value.

Juxtaposing a person with an environment that is boundless, collating him with a countless number of people passing by close to him and far away, relating a person to the whole world, that is the meaning of cinema.

Look, I wasn't saying the Beatles are better than God or Jesus. I said 'Beatles' because it's easy for me to talk about Beatles. I could have said TV or the cinema, motor cars or anything popular and I would have gotten away with it.

I would tend to be drawn to independent cinema as a viewer, probably more than the big blockbuster.

Learn from cinema. Be economic with descriptions. Sort out the telling detail from the lifeless one. Write dialogue that people would actually speak.