Cinema Quotes
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Cinema through spectacle, through the entertainment of spectacle, tells the story of many actual problems in life. Because who ever doesn't want to read between the lines can just enjoy the entertainment and the show and can go home happy.
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I think my home is in that sort of the part of cinema that's disappeared is where I lived, that sort of mid-budget you know, drama. I suppose that's what I am known for.
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Instead of watching DVDs at home, I prefer going to the cinema to get the experience.
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More than my other films, Uncle Boonmee is very much about cinema, that's also why it's personal. If you care to look, each reel of the film has a different style - acting style, lighting style, or cinematic references - but most of them reflect movies. I think that when you make a film about recollection and death, you have to consider that cinema is also dying - at least this kind of old cinema that nobody makes anymore.
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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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I want to become actor not because I want money and become more famous. No I don't want that. It is not that l want stardom, I want to contribute to good cinema.
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I think cinema is good for incarnating the parts of the mind that you cannot explain.”
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I make every movie and every scene like it could be my last. That's the only way I know how to make cinema that stands on its feet. I have to treat it like that. It has to be life and death stakes.
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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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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 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 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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Any story that gets us thinking, and particularly young people, thinking why? Whether it's as a result of reading the book, or coming out of the theatre or the cinema, I think we should just simply be asking the question 'why'? Why did it happen to those people? Was it necessary? And anything that gets us thinking like that is really important.
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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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My influences come from real life. I'm not interested in cinema for cinema's sake. I'm interested in life - what one does and how one interacts.
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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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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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Cinema can transform pain and trauma into something beautiful.
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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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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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American capitalism finds its sharpest and most expressive reflection in the American cinema.
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The appeal of cinema lies in the fear of death.
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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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How heartening it is to know that Ken Loach is still out there making committed, polemical cinema, so long as you don't have to watch it. Never go near a Ken Loach film unless you're trying to sleep with a socialist. If you are, however, Land And Freedom should do the trick.
