Cinema is a matter of what's in the frame and what's out.
Film in the 20th century, it's the American art form, like jazz.
If you’re looking for the origins of film culture in America, look no further than Amos Vogel.
I’m not interested in a realistic look, not at all, not ever. Every film should look the way I feel.
I'd like to do a number of films. Westerns. Genre pieces. Maybe another film about Italian Americans where they're not gangsters, just to prove that not all Italians are gangsters.
Watching a Kubrick film is like gazing up at a mountaintop. You look up and wonder, how could anyone have climbed that high?
Music and film are inseparable. They always have been and always will be.
If you don’t like the films of Samuel Fuller , then you just don’t like cinema.
I didn't realize there are generations who do not know about the origins of film.
Death comes in a flash, and that's the truth of it, the person's gone in less than 24 frames of film.
When I'm making a film, I'm the audience.
I grew up within Italian-American neighborhoods, everybody was coming into the house all the time, kids running around, that sort of stuff, so when I finally got into my own area, so to speak, to make films, I still carried on.
I was saying as a joke the other day that I love film editing, I know how to cut a picture, I think I know how to shoot it, but I don't know how to light it. And I realize it's because I didn't grow up with light. I grew up in tenements.
My films really have to be a part of a whole body of work that says something to me.
I go through periods, usually when I'm editing and shooting, of seeing only old films.
I think there's only one or two films where I've had all the financial support I needed. All the rest, I wish I'd had the money to shoot another ten days.
All I can do is try to do the best work I can. I need to work, I like to work... although I complain about it, but I do like it - and I just need to make the best film I can.
I wish I could play music. I think I get as closeas possible with the editing of the films. Over the years musichas been an even more important influence than-or as important as-film.There's no doubt about it. Painting, movement, dance, sculpture-it'sall in cinema.
I've seen many, many movies over the years, and there are only a few that suddenly inspire you so much that you want to continue to make films.
Orson Welles was a force of nature, who just came in and wiped the slate clean. And Citizen Kane is the greatest risk-taking of all time in film. I don’t think anything had even seen anything quite like it. The photography was also unlike anything we’d seen. The odd coldness of the filmmaker towards the character reflects his own egomania and power, and yet a powerful empathy for all of them--it’s very interesting. It still holds up, and it’s still shocking. It takes storytelling and throws it up in the air.
Any film, or to me any creative endeavour, no matter who you're working with, is, in many cases, a wonderful experience.
And so you try your best. Sometimes you go in with one thing, with one desire and come out with something else. In the case of 'The Aviator' it was to create a Hollywood spectacle, but by about the second or third week of shooting you just want to literally survive it. Because don't forget, I also go through the editing process too, and when the film is released I have to talk about it. So, I take all of that very seriously.
In truly great films - the ones that people need to make, the ones that start speaking through them, the ones that keep moving into territory that is more and more unfathomable and uncomfortable - nothing's ever simple or neatly resolved. You're left with a mystery.
More personal films, you could make them, but your budgets would be cut down.
There are movies that change the whole way in which films are made, like Klute, where Gordon Willis’s photography on the film is so textured, and, they said, too dark.
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