A record is something that isn't real or true. It's like cinema. It's a construction of something hyper-real and surreal and unreal all at the same time. You make a space that doesn't really exist. One of the big joys of being in this line of work is building the recorded versions of the songs.
Clint Eastwood said, the only things America has contributed to civilization are the western and jazz. And I don't think westerns are bad, but lots of people make great cinema. But jazz is right there.
The good thing about Egypt is, between the two World Wars, Egypt was - had a liberal society. It has a political life. It has parties. It was not - it was dysfunctional in many ways, but it was not a very repressive regime. Egypt, at one time, was the bellwether of the Arab world, was the trendsetter, created great culture, movies, cinema, you name it.
I love adventure movies, I just love action adventure films. It's pure cinema and you go in and you're lost to it. To me, it's that challenge - I want to give an audience that ride, that entertainment.
The idea that boxing lends itself to cinema so well is because it's usually a morality play - good against evil, insecurity and triumph, fear strikes out, so the audience can really get drawn into the drama of it. Also, it was sensual and very primal. I think subliminaly we do two things - life is a fight, life is a struggle and we understand that from our early, early, early ancestors, and life is a race.
If an irreducible distinction between theatre and cinema does exist, it may be this: Theatre is confined to a logical or continuous use of space. Cinemahas access to an alogical or discontinuous use of space.
Without claiming superiority of intellectual over visual understanding, one is nevertheless bound to admit that the cinema allowsa number of æsthetic-intellectual means of perception to remain unexercised which cannot but lead to a weakening of judgment.
The art of watching has become mere skill at rapid apperception and understanding of continuously changing visual images. The younger generation has acquired this cinematic perception to an amazing degree.
From the American newspapers you'd think America was populated solely by naked women and cinema stars.
Everything encourages you not to tell stories of gay lives. There is no economy yet for that kind of cinema.
Cinema is a medium that can translate ideas. But wood can translate ideas, too. You have wood and then you get a chair. Some ideas are for different things.
During the course of a day, some dark feeling comes, maybe some sadness comes, some thrill, some great happiness, some strange humor. Cinema can embrace all that in one story, just as the story of life.
I like action films, not exclusively, but I like Samurai films. I like Westerns. Not so much war pictures, but a few. I like kinetic cinema.
On the professional side, I've helped move cinema from a chemical-based medium to a digital-based medium. That'll be one of the landmarks. And I've left these stories, these little tales that have been imprinted on the media, which will or will not be of interest to people in the future. I've done the best I can.
There's a lot of great writing, and characters, and stories being told in television nowadays. And much more than there used to be. The opportunities to tell stories, because of the opportunities to show content. And so it's drawing actors from cinema, movie actors, actors to where there's a lot of opportunities to where you can tell stories.
I'm one of the few reading and thinking people who loves Las Vegas for the vulgarity and omnipresence of the dream. The collective dream. There's something enormous about it. Let me say one thing: Las Vegas and cinema have similar roots. The country fair. The magician at the country fair. The vulgarity of the country fair.
I think that it's not a bad thing to not be too versed in the vocabulary of cinema, because you start to think that certain things are allowed and not allowed.
A "name" no longer carries a film. People used to go to the cinema to see a "John Wayne film." And you don't have that thing happening now except in the rock world, which has taken the event out of movies.
A lot of the young people make beautiful films or big films or are able to finance them, but they can't get anyone to distribute them, they can't get anyone to see them, so they go to these thousands of film festivals. So I still believe that even though a young kid might be able to make a masterpiece or something that changes the direction of cinema, the issue of how to get it to people is still not solved.
Film has become a marketed commodity, and the opportunities and audiences for art cinema have grown smaller. There is a general downturn in cultural literacy, perhaps because of television.
I don't try to make a place in history at all! People put me in the history of cinema because my first film, La pointe-courte, was so ahead of some other filmmakers. Many filmmakers have made resurgent work, and I was just a little ahead of the time.
When I started my first film, there were three women directors in France. Their films were OK, but I was different. It's like when you start to jump and you put the pole very high - you have to jump very high. I thought, I have to use cinema as a language.
When I saw what painting had done in the last thirty years, what literature had done - people like Joyce and Virginia Woolf, Faulkner and Hemingway - in France we have Nathalie Sarraute - and paintings became so strongly contemporary while cinema was just following the path of theater. I have to do something which relates with my time, and in my time, we make things differently.
At that time, when I started, in the '50s, cinema was very classical in its aims.
That sort of detailed filmmaking is one, hard to do and not have it be pretentious, and two, have it tell the story, which is what you're taught, that cinema is the language of images and you really should be able to make a film with no dialogue and tell a story.
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