Best 605 quotes in «cinema quotes» category

Over the years, there has been an intermingling of film and aircraft. This relationship has generated all kinds of movies, including those filmed in San Diego.

Parallel cinema has not made an effort to communicate in a language the other person understands.

People know that I have a great love for cinema. Not just for commercial cinema, but for the “cinema d’auteur.” But to me, two of the great “auteurs” are actually actors and they both happen to be French. One is Alain Delon and the other is Jean-Paul Belmondo.

People who would go to an arthouse cinema and watch a Swedish movie and read subtitles... it's a small percentage.

Radio did not kill books and television did not kill radio or movies - what television did kill was cinema newsreel. TV does it much better because it can deliver it instantly. Who wants last week's news?

Perhaps our eyes are merely a blank film which is taken from us after our deaths to be developed elsewhere and screened as our life story in some infernal cinema or dispatched as microfilm into the sidereal void.

Personally, I prefer contemporary films, but the market calls for more period choices, especially since China opened up a cinema market in Hong Kong. There's a lot of restriction for contemporary films simply because of subject matter.

Politics, poverty, riches, etc - these are but backdrops for the grand cinema, the opera: the glory of your life. Sure, change the backdrops, make them better, but it is this inside-ness that matters most. Nothing else, at the last breath, matters, but your very own poetry. The glory of living.

Previously the same Polish audiences would have been pressured into seeing cinema made for adults, films made by us about those spheres of life that were significant for us and which should be significant for our society.

Realism is always subjective in film. There's no such thing as cinema verite. The only true cinema verite would be what Andy Warhol did with his film about the Empire State Building - eight hours or so from one angle, and even then it's not really cinema verite, because you aren't actually there.

Realism is always subjective in film. There's no such thing as cinema verite.

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

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.

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.

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.

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.

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.

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

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.

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

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 appeal of cinema lies in the fear of death.

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

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

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

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?

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

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