I was raised in a family where cinema was a way of life. It was not only about making films, it was relationship, passion, love, everything at the same time.
It doesn't matter if it's black-and-white. If a movie has a story that is filled with emotion, you can have as much pleasure, and it's very good for cinema.
I grew up watching a lot of French cinema.
I believe that you must be madly in love with cinema to create films. You also need a huge cinematic baggage.
Opera was the cinema of its time, so to bring back that popular appeal, you just need to unleash its visceral immediacy and excitement. Most productions don't manage that - but when an opera does do it, you never forget it.
There will be a competition among critics for the best Paris Hilton insult. Here's my first: Her attention span is so short that she can't even maintain her concentration while running away from a psycho... Maybe the ultimate insult is that she makes her co-star Elisha Cuthbert seem, by comparison, the sexiest and most interesting actress in modern cinema.
Critics are giving marks for originality, acting, photography and scripting, while mass audiences are more drawn to familiarity of genre, stars they would like to have sex with or plots that are more likely to make their dates have sex with them. Reviewers are doing their day's work, cinema-goers are escaping from theirs: this leads to an inevitable difference of response. It is, though, wrong to conclude that reviewers are completely useless. Books, movies and shows may be critic-proof, but the egos and psyches of the people who make them very rarely are.
There are those who think that Zeffirelli's Hamlet is the way to treat Shakespeare. I think that cinema can handle much more. We somehow expect cinema to provide us with meaning, to console us. But that's not the purpose of art.
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.
You do remember things that people say in movies. You remember particular lines and things that are funny. But, you also remember really strong images. Images have a way of bypassing your brain and hitting you emotionally. There are so many things from movies that are remembered, that are just looks on people's faces or incredible vistas or beautiful pictures. That is a very important part of cinema.
You don't have to be musician to listen to music, and you don't have to be a filmmaker to go to the cinema, but somehow when we think of science, we think of it only as an academic discipline.
Musicals and horror films can be very non-verbal and very pure cinema with movement. The camera is justified in being a character. It can really move and tell a story, and literally direct you to look here or there.
I'm like a weird actor. I feel like I'm vastly uneducated when it comes to the cinema.
I mean, "The Jinx" is an amazing piece of cinema and amazing television moment, it`s rare documentarians can feel the direct impact of their work.
That's the funny thing about cinema, it is an intellectual medium, but it's also sort of anti-intellectual.
People go to the cinema to be moved; they wanna laugh, they wanna cry, they wanna feel something deeply, especially if they're not feeling deeply in their own lives.
Most big concerts sound disgusting and awful and insultingly bad. It's like going to the cinema and been shown a scratchy film which is upsidedown and the bulb had gone on the projector. The quality of large-scale live music is so shocking.
It's just odd that something as essential in life as sex has been flattened out in mainstream cinema - and in art cinema. Even in art movies, sex always seems to be treated negatively. Why does it always end in disaster?
It is clear that through the partnerships between Global Cool and the International Indian Film Academy, Indian cinema has the potential to provide great leadership by exciting its enormous and enthusiastic audience to do their bit to save the planet
I spent 15 years of my career trying to convince people that Indian cinema is relevant. I am so proud of Indian cinema and I am so proud of my Indian roots. The IIFAs are doing a great job to this effect.
My cinema - the '50s, '60s - is different from the cinema today so I thought that it would not be bad to show that kind of cinema where we could dream.
When you go to the cinema you look up, when you watch television you look down.
My theory is, I don't know how long it's going to be five or ten years, there will be only two ways to see a movie and that will either be on your computer through your TV screen or in the cinema, end of story. There will be no DVD, that's it, simple.
The pay window will be: you can choose how and when you see, whether you see it on Comcast or Warner's Cable delivery system or Sky in the UK or you can buy it through Apple, or you might even buy it directly from the studio's site. Who knows? But that will be it. You'll go to the cinema and you'll find a way of digitally interacting with the piece; you'll either buy it or rent it or whatever.
I've always been a big proponent of point of view in cinema. Not necessarily that the point of view has to be subjective, but that in all great films the point of view has been taken into account and established.
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