There are only two types of cinema - good or bad.
[on the reason for his seven-year hiatus in direction] My son Aditya made Mohabbatein, which took a lot of time and energy. Then we started looking for a script for me to direct. Nothing seemed to excite us both. There's a complete bankruptcy of screenwriting in our cinema. I wanted a very earthy and Indian subject. I was tired of the promos on television. With semi-clad girls, they all looked the same. Of course Dhoom has them too. But I'd personally not make a film like that.
Cinema verité is not the film of truth, but the truth of film.
The Lego Movie: Merely a great film, or the greatest film ever in the history of cinema?
I think cinema should provoke thoughts, sure, but using it as I soapbox I think is the wrong place.
I don't like differentiating between art and commercial cinema.
There is no masculine psychology in my cinema. There is only the resentments and desires of women. A man should not attempt to recognize himself in my male characters. On the other hand, he can find [in the films] a better understanding of women. And knowledge of the other is the highest goal.
There are no rebels in the cinema business.
I remember queuing around the block in Sheffield when I was growing up. At that time, going to the cinema was really something special - there was something about the style of the real thing that is immeasurable nicer than multiplexes.
I didn't go to the cinemas a lot as a kid.
Everyone who makes films has to be an athlete to a certain degree because cinema does not come from abstract academic thinking; it comes from your knees and thighs.
Well, you cannot think of cinema now, and you cannot think of cinema in the UK and not place Chaplin in the most extraordinary elevated context, if there can be such a thing, in that he was a genius, he was unique.
And that is how I employ my time in cinema, saying things about people who I think have touched us in terms of our value judgement and by example.
The cinema substitutes for our gaze a world more in harmony with our desires.
I love awards, especially if I get them. It's up to the courage of the filmmakers to make art in cinema, not just business. John was rejected by studios, he borrowed money and did movies with his own money. You're either courageous or not. You have to find a way.
I would always slip away to the cinema. I always found something absolutely extraordinary about the fact that these actors were always kind of kicking hard at some new dimension they were doing on film.
In the vast majority of movies, everything is done for the audience. We are cued to laugh or cry, be frightened or relieved; Hitchcock called the movies a machine for causing emotions in the audience. Bresson (and Ozu) take a different approach. They regard, and ask us to regard along with them, and to arrive at conclusions about their characters that are our own. This is the cinema of empathy.
War is cinema, and cinema is war
I’m just a storyteller, and the cinema happens to be my medium. I like it because it recreates life in movement, enlarges it, enhances it, distills it. For me, it’s far closer to the miraculous creation of life than, say, a painting or music or even literature. It’s not just an art form; it’s actually a new form of life, with its own rhythms, cadences, perspectives and transparencies. It’s my way of telling a story.
The public has lost the habit of movie-going because the cinema no longer possesses the charm, the hypnotic charisma, the authority it once commanded. The image it once held for us all — that of a dream we dreamt with our eyes open — has disappeared. Is it still possible that one thousand people might group together in the dark and experience the dream that a single individual has directed?
My films are intended as polemical statements against the American 'barrel down' cinema and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus.
I think what makes compelling fiction or cinema is when you're basically taking the most intense moments of experience and you're creating a song or a narrative out of it.
Cinema seats make people lazy. They expect to be given all the information. But for me, question marks are the punctuation of life.
I believe that perfection handicaps cinema.
Nooo! Leave that to George Lucas, he' s really mastered the CGI acting. That scares me! I hate it! Everybody is so pleased and excited by it. Animation is animation. Animation is great. But it's when you're now taking what should be films full of people, living thinking, breathing, flawed creatures and you're controlling every moment of that, it's just death to me. It's death to cinema, I can't watch those Star Wars films, they're dead things.
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