I think people need to understand that with plays and with cinema, when you hear about it, call and get a ticket then or go and see it then. It's especially with the play, which I can do because it's a limited run.
I'm not naive enough to pretend that on its own cinema can capture the very soul of significant social and cultural problems.
At its best, cinema does retain a remarkable ability to speak to people of every age, from every background, and in ways that almost any other art form in popular culture struggles to compete with.
The select group of people who do make realistic cinema, who do make cinema perhaps a little more acceptable to the Western audience, is a very small percentage.
My mother and my father went to the cinema for the first time when I made my first movie in 1978.
When you're on TV, you come into people's homes. In theater and film, they go to you - to the temple of the cinema or theater. And it's very different.
Used properly, cinema is the coolest thing in the world.
You see thousands of films you forget the minute you come out of the cinema, don't you? Because they don't mean anything. It's the tough ones like 'Breaking the Waves' and 'Nil By Mouth' that stay with you, that you never forget. I'd like to leave a few of those behind if possible.
Music is one of the important things for me in cinema.
Jean-Luc Godard said that cinema is the truth 24 frames a second. I think cinema is lies 24 frames a second.
I just don't think there's a lot of support for the woman's voice in cinema, and it becomes really difficult to raise that money and start again every time.
I didn't go to the cinema a lot when I was young.
Just telling a story. That's cinema. It's not silent, black and white. It's a simple story that's well made.
Realism is always subjective in film. There's no such thing as cinema verite. The only true cinema verite would be what Andy Warhol did with his film about the Empire State Building - eight hours or so from one angle, and even then it's not really cinema verite, because you aren't actually there.
I became a director just for the love of movies, because of the power of cinema.
When I make a film, I never stop uncovering mysteries, making discoveries. When I'm writing, filming, editing, even doing promotional work, I discover new things about the film, about myself, and about others. That is what I'm subconsciously looking for when shooting a film: to glimpse the enigmas of life, even if I don't resolve them, but at least to uncover them. Cinema is curiosity in the most intense meaning of the word.
Cinema d'auteur, cinema about people, about emotions. About la difficulté d'être, the difficulty of being, existential problems. That's what the nouvelle vague is. The early '60s was all about that.
I never sit in a cinema and go, "Ah! I want to be in that film!"
Every building you come out of, there is a parasite there exercising his constitutional right to make money out of being a parasite, trying to take your photo. Frankly, folks, I go to work, I do my job. I really concentrate, and if you go to the cinema, pay your money and have a good time. That's the end of it, as far as I'm concerned.
There is no golden rule of dating, except to make sure that it engages both of you; too many people go to a cinema for a first date and of course don't say a word, that's a bad thing!
The language of prose is very different than the language of cinema, so the movie has to successfully translate what was in the book.
I like my cinema gritty, I like my eggs gritty.
. . . you [film critics] always overstress the value of images. You judge films in the first place by their visual impact instead of looking for content. This is a great disservice to the cinema. It is like judging a novel only by the quality of its prose. I was guilty of the same sin when I first started writing for the cinema. . . . Now I feel that only the literary mind can help the movies out of that cul de sac into which they have been driven by mere technicians and artificers.
We go to the cinema we see images projected on the screen - but they're not real, they're only images.
I studied cinema at the university so I had a very classical approach to it. I studied all those silent films, and then the films from the 1940's, the Nouvelle Vague, the late Hollywood films. Now I realize, as a young actor, that it's one of my duties to actually be aware of what is today's industry and today's next big directors.
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