I think cinema is the memory and the imagination of the country. Take the memory and imagination out of an individual, and he stops being an individual. I think its the same thing for a country.
There is no one kind of thing that we 'perceive' but many different kinds, the number being reducible if at all by scientific investigation and not by philosophy: pens are in many ways though not in all ways unlike rainbows, which are in many ways though not in all ways unlike after-images, which in turn are in many ways but not in all ways unlike pictures on the cinema-screen--and so on.
This is the essential distinction--even opposition--between the painting and the film: the painting is composed subjectively, thefilm objectively. However highly we rate the function of the scenario writer--in actual practice it is rated very low--we must recognize that the film is not transposed directly and freely from the mind by means of a docile medium like paint, but must be cut piece-meal out of the lumbering material of the actual visible world.
Over the years, there has been an intermingling of film and aircraft. This relationship has generated all kinds of movies, including those filmed in San Diego.
Because of the influence of the cinema, most reports or stories of violence are so pictorial that they lack content or meaning. The camera brings them to our eyes, but does not settle them in our minds, nor in time.
One of the most original and poetic works of cinema made anywhere in the seventies.
Frankly speaking, I hate comparisons. Two individuals are doing two different films, playing two different characters: how can you compare them? It is not fair to get into ratings. It really doesn't matter what I think about other actresses; what matters is what the directors think of them when they are casting them in a project, because I think it's the director who's behind a successful piece of cinema.
I am an entertainer. Cinema is entertainment. It is nothing more than that.
The cinema is going to form the mind of England. The national conscience, the national ideals and tests of conduct, will be those of the film.
In the theater there are 1,500 cameras rolling at the same time - in the cinema, only one.
Music has a role, fashion has a role, cinema has a role, intellectuals have a role, parliamentarians, politicians, diplomats - all of it.
I am grateful to theatre for making me what I am today. But it's not like theatre is my first love. I am equally attached to cinema, which is, actually, a child of theatre, since it borrows heavily from it.
It is my first preference to do films with social significance. Art cinema has given me credibility and status as an actor, but commercial cinema has given me a comfortable living.
We have filmmakers who make films with some kind of responsibility and take cinema seriously like Shyam Benegal, Govind Nihalani, Prakash Jha. But now these people also take stars Without stars they cannot work.
Parallel cinema has not made an effort to communicate in a language the other person understands.
I prefer working in good cinema, wherever it is. I like subjects that have a universal appeal.
I first came to cinema as a passionate filmgoer, when I was a child. Then, when I was a very young man, I became a film critic precisely because of my knowledge of cinema. I did better than others because of this. Then I moved on to screenwriting. I wrote a film with Sergio Leone, 'Once Upon a Time in the West.' And then I moved to directing.
I know there is one kind of cinema that exists in the world, that is good or bad cinema.
Bicycle Thief is a triumphant discovery of the fundamentals of cinema, and De Sica has openly acknowledged his debt to Chaplin.
When you write a scene where somebody is afraid of something you instantly go to decades of genre cinema: horror, suspense, and thrillers. Those are very cinematic genres, when you shoot a close-up of someone and you can see fear in the person's face, or anticipation, or some kind of anxiety, it's a very cinematic image.
I think if some people know anything about African cinema it's something like the The Gods Must Be Crazy, which is such an awful, condescending movie that debases African participation, and anything I can do to shift that and draw attention to rich and widely varied films that come from there- because there's all kinds of filmmakers from Senegal, you have Mambety, and Haroun with Grigris.
I'm a storyteller who uses all of the beauty and power of cinema to tell tales of human struggles for positive social change.
I'm an eclectic and avid filmgoer. I try to see everything from romantic comedies to blockbusters to art house films, world cinema and documentaries.
I truly value the cinema experience, the tribal gathering in the dark to watch something larger than life. I like to sit in the first row with no heads in front of mine, and become one with the screen. I always stay for the complete credits so I can linger in the film's story just a little longer.
I will personally never ever get over the communal experience of theatrical cinema. I will never get over the scale of a big screen in relation to your small body, big sounds in a big room with a bunch of other people.
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