It always sounds kind of trivial, but when I was a kid I was always so impressed by how serious the comic books were. I always liked how they were half way between literature and the cinema. I liked the visuals and I liked the simplicity of a certain type of moral dilemma.
I think the problem with the cinema currently is that so much of the money that goes movies that offer a certain kind of repetition.
I never studied film formally at school, but as a kid, I spent most of my time in cinemas.
['American Dream' will be released] probably never.Never in the United States because there's no room for independent cinema.
All the people I've met, many outside of cinema, knew everything perfectly about one thing or one subject or one area.
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.
The American public is a very specialized public. The reason it is taken as a realistic film is because inside the fable, I've put that kind of reality in. And it could easily be called, instead of Once Upon a Time in America, Once Upon a Time There Was a Certain Kind of Cinema. Because it was also an homage to cinema.
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.
I had more trouble than I had a sense of utility or satisfaction. But it served to occupy me and to keep me occupied in a field that I love - which was cinema - while I was waiting to realize the film that I wanted to do, which was Once Upon a Time in America, which took ten years of thinking and working to realize.
It's difficult to find new solicitations, new expressions. But this is talking about filmmaking. Cinema.
I've seen films that have made as much as $100, $200 million, but they're not films. They're images. They're flashes. They're many beautiful images, lots of things to look at. They capture you. But it's not a film. It's not something that involves you in a story. They go to cinema now to be blown away by the effects.
An important Italian critic once gave Fistful of Dollars a very bad review when it came out. Then he went to the university here [Rome] with Once Upon a Time in America. We showed it to 10,000 students. And while the man was speaking that day to the students, with me present, he said, "I have to state one thing. When I gave that review about Sergio's films, I should have taken into account that on Sergio Leone's passport, there should not be written whether the nationality is Italian or anything else. What should be written is: 'Nationality: Cinema.' "
I think that in the American film industry - or even in the European cinema - movies are made not to disturb any kind of class or any kind of minority.
Sometimes I have better relationships with my barber then with people who are into cinema from an upper class.
Asian American men, Asian men have been basically eunuchs in American cinema and television.
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.
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.
As a matter of fact, I find the Western cinema very fantastic.
As soon as I get my car I think I'll be going to the cinema more. Since I don't go very often, there are no films that are a must see at the moment. I usually wait till they come out on DVD.
I've spent days in cinemas answering questions from the audience, in interviews, travelling abroad, and all they do is thank me nicely.
When I go to the cinema, I want to have a cinematic experience. Some people ignore the sound and you end up seeing something you might see on television and it doesn't explore the form. Sound is the other picture. When you show people a rough cut without the sound mix they are often really surprised. Sound creates a completely new world. With dialogue, people say a lot of things they don't mean. I like dialogue when it's used in a way when the body language says the complete opposite. But I love great dialogue I think expositional dialogue is quite crass and not like real life.
People often criticize my films for being pessimistic; there are certainly many reasons for being pessimistic but I don’t see my films that way. They’re founded in the belief that revolution doesn’t belong on the cinema screen but outside in the world. Never mind if a film ends pessimistically but exposes certain mechanisms clearly enough to show people how they work and the ultimate effect is not pessimistic. My goal is to reveal such mechanisms in a way that makes people realize the necessity of changing their own reality.
I saw David Lynch’s “The Elephant Man” (1980) when I was 15. I was completely bowled over. I found it so beautiful, strange and mesmerizing that I went back to the cinema every night for a week to see it.
I've always considered movies evil; the day that cinema was invented was a black day for mankind.
You don't have to know how to make a movie. If you truly love cinema with all your heart and with enough passion, you can't help but make a good movie.
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