Cinema Quotes
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I feel very much ideologically, politically if you like, and emotionally part of the European cinema.
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Even if I don't see Brooklyn I have to see Anomolisa, because it's Charlie Kaufman. No one is doing things that they should't be doing more in cinema than Charlie Kaufman. This is how I look at it: he had an incredible story that was going to resonate regardless, but just shooting that movie is too easy for Charlie Kaufman.
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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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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.
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When people leave the theatre, they should remember a line, a character, a sequence or emotion. With entertainment, I want to give meaningful cinema.
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Because there is so little room for expression otherwise, a lot of people love cinema because they find it a way of expressing themselves.
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The director has to, I feel, be one step back, not only from cinema, but also from politics and all these issues in order to tell and depict the situation that spreads to people.
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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.
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I've turned down all sorts of good things accidentally, too. I read the script for 'Eternal Sunshine Of The Spotless Mind' and thought, 'This makes no sense.' Then I went to the cinema to see it. Well, what an idiot.
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I mean, the paradox is that whereas the screen, it seems to me - the cinema can absorb endless amounts of music, it cannot really with comfort absorb large amounts of words. Not nearly as many words, that is to say, as a stage can.
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Diversity is crucial to art and crucial to cinema. That's a very strong European statement: All people should be able to have images of themselves.
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I am an entertainer. Cinema is entertainment. It is nothing more than that.
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One of the things I love about cinema is the range.
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When I grew up, you'd see shorts before movies. I know it happened a lot more before I started going to the cinema.
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We see many posters and standees at cinema halls, and some catch attention. But these posters are soon forgotten. Taking a picture with the actors, enabled by AR, helps record a memory.
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I happen to love working in cinema, but the theater is always there... you know, and I would never shut the door on it. Even though it's been quite a bit of time since I've done a play, last one was in New York.
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As beautiful as cinema is, it's a massive part of the problem of why we look at ourselves in the way we do.
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I am very happy to be part of European and world cinema as a British filmmaker.
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The American cinema in general always made stories about working-class people; the British rarely did. Any person with my working-class background would be a villain or a comic cipher, usually badly played, and with a rotten accent. There weren't a lot of guys in England for me to look up to.
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I want to be part of movies which set benchmarks for a new kind of cinema.
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My life, my reading, everything about me revolves around the cinema. So for me, cinema is life, and vice-versa.
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Cinema is so slow and boring compared to television.
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The power of the story sheds a light and great perspective on well known facts. The power of cinema draws on that collective history.
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Many of my all-time favorite movies are almost entirely verbal. The entire plot of My Dinner with Andre is “Wallace Shawn and Andre Gregory eat dinner.” The entire plot of Before Sunrise is “Ethan Hawke and Julie Delpy walk around Vienna.” But the dialogue takes us everywhere, and as Roger Ebert notes, of My Dinner with Andre, these films may be paradoxically among the most visually stimulating in the history of the cinema...
