Cinema Quotes
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There was also the myth of the western films. But my films are borrowed not from the story of the West in America but from the story of cinema.
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The appeal of cinema lies in the fear of death.
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I really want to be able to work in cinema. So one of my long-term goals is to score films. I think probably horror – because that’s my favourite genre.
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Movie acting is about covering the machinery. Stage acting is about exposing the machinery. In cinema, you should think the actor is playing himself, if he's that good. It looks very easy. It should. But it's not, I assure you.
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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.
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The problem with black cinema in its current form is on the one hand it is the only game in town; it's a very structured set-up and it's not conducive to get at the kinds of things I'm trying to portray using the cinematic apparatus to show black sociality and how it functions.
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The film The Conquest will be seen on many different levels and the American point of view is always more technical. The French are less technical - it's 'I like it, or I don't like it.' I hope that this film can have a life in the U.S. - it's the grand country of cinema. I grew up with Hollywood movies, so for a French director to have a film distributed in the U.S. is a real opportunity.
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If you can't believe a little in what you see on the screen, it's not worth wasting your time on cinema.
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We cannot put cinema in parallel with the political, because politics are something dirty and cinema is not dirty.
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I am never quite sure whether I am one of the cinema's elder statesmen or just the oldest whore on the beat.
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Cinema is a director's medium, so you're saying, "What do you want?" Being an actor is about adapting - physically and emotionally. If that means you have to look great for it and they can make you look great, then thank you. And if you have to have everything washed away, then I'm willing to do that too.
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I have a very simple mantra and it's this: I want to make black cinema with the power, beauty, and alienation of black music. That's my big goal. The larger preoccupation is how do we force cinema to respond to the existential, political, and spiritual dimensions of who we are as a people.
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Politics is like bad cinema — people overact, take it too far. When I speak with politicians, I see this in their facial expressions, their eyes, the way they squint. I look at things like a producer. I would often watch a scene on the monitor, and the director and I would yell, ‘Stop, no more, this is unwatchable! No one will believe this.’
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The structure of my novels has nothing to do with the narrative mode of cinema. My novels would be very difficult to film without ruining them completely. I think this is the area where writers need to place ourselves: from a position of absolute modernity and contemporaneity, creating a culture of objects which cinema cannot.
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I still love the layers of cinema whether it's 35mm or 16mm or 8mm, super 8 which I love. I love the grain. If I had my druthers I'd film everything in kodachrome.
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I'd like to be part of out-of-the-box films like 'Shahid.' I see myself being part of realistic cinema.
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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.
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I lived within walking distance of Harvard Square, and that's where I discovered my love of cinema. I saw a lot of foreign and independent films there.
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There's a whole, that is a whole subgenre within martial arts cinema. The supernatural martial arts movie. Particularly within Asian cinema.
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My career in the movie business began in Hong Kong, my heart has always been tied to Asia, and it is immensely gratifying to see international recognition for Asian cinema as a whole.
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I am always looking for inspiration. I always live in big cities where I can go every day to a museum, see a lecture, meet people that are artists, go to the cinema. For me, it's like food. It is necessary for my personal growth as a person to grow as an artist, I go basically every week to three or four things. But it's real life that inspires me - when I meet somebody, when I see something.
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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.
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Now why should the cinema follow the forms of theater and painting rather than the methodology of language, which allows wholly new concepts of ideas to arise from the combination of two concrete denotations of two concrete objects?
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I've worked with a lot great directors who have huge resumes, but I'm really trying to be active in my career in supporting the new generation of cinema. I like taking some time to try to support and be a part of that.
