I am not ready to fit into the mould of commercial cinema.
My hatred for Japanese cinema includes absolutely all of it.
The cinema industry is competing against everything else people can do on a Friday or Saturday night. If they don't have a good time, you're going to lose them to something else. So much of what we do is trying to make the Alamo experience special.
I know why I make films -cinema is a mode of expression that allows you to express all the nuances of a thing while including its opposites. These are things that can't be quantified mentally; yet they can exist and be juxtaposed. That may seem very contradictory. Cinema allows you to film these contradictions.
Entertainment today constantly emphasises the message that things are wonderful the way they are. But there is another kind of cinema, which says that change is possible and necessary and it's up to you.
I guess we've had a very close relationship because I don't pretend to know about cinema and I think I do know a bit about theatre but he does, he respected that and so we really just had a collaboration which went completely like this.
China's cinema has been rising for some time; it has more exposure, so my chances of becoming internationally known are better. But the first thing I have to do is learn English. If I can grasp the language, then perhaps I can think about the U.S.
. . . it is true that language and forward movement in the cinema are jolly hard to reconcile. It's a very, very, difficult thing to do. . . . There is still a place in the cinema for movies that are driven by the human face, and not by explosions and cars and guns and action sequences . . . there's such a thing as action and speed within thought rather than within a ceaseless milkshake of images.
To the leaders of the cinema still to come, I can offer only a few words drawn from my modest experience. You must ceaselessly formulate and sharpen your critical views, both of others and of yourselves.
The cinema is - in Jean Cocteau’s famous words - ‘a dream that can be dreamt by many people at the same time’.
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.
Politics, poverty, riches, etc - these are but backdrops for the grand cinema, the opera: the glory of your life. Sure, change the backdrops, make them better, but it is this inside-ness that matters most. Nothing else, at the last breath, matters, but your very own poetry. The glory of living.
I've found music over the course of my life is slightly more astoundingly inspiring than great cinema
I was always intrigued with European cinema, and hated most American cinema. I didn't like the one, two, three - boom! style, with a neat and tidy ending. That was never my scene.
For me and my films I want my audience to experience cinema in its full glory. It's not just visual, it's audio as well. It's emotional and I want you to be engaged with not just the scene but with the characters.
Don't make your living with cinema because Hollywood will take you, will eat you, will destroy you. This is the reality. You have a good picture, have success, you take the person and they destroy you.
Movie queens diffuse into Cinema haze, while libertines read pornozines in street cafes.
Civilization - and by this I do not mean talking cinemas and tinned food, nor even surgery and hygienic houses, but the whole moral and artistic organization of Europe - has not in itself the power of survival. It came into being through Christianity, and without it has no significance or power to command allegiance ... It is no longer possible, as it was in the time of Gibbon, to accept the benefits of civilization and at the same time deny the supernatural basis on which it rests ... Christianity ... is in greater need of combative strength than it has been for centuries.
A message I've been telling myself: the cinema is very conservative, and unless you have a story that satisfies you, that is within the unchallenging zone, but you love it, you can't do it as cinema. Otherwise, you better go do it for television, which is more daring now.
I love going to the cinema. Whenever I get time off, that's where I go.
Cinema basically examines a personality first and the body afterward.
For so many filmmakers, cinema is a means to an end.
I don't believe in the deplorable notion of realism in the cinema: you can over-reach it, and it becomes as false as convention.
I suppose I am gently cynical about notions of who we think we are, but I certainly don't hate my fellow man. I think my cinema, although it might often deal with death and decay, is highly celebratory.
I think my films are always quite self-reflexive and always question 'why am I doing this, is this the right way to do it, what is cinema for, does it have a purpose?
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