The revolution of video had a massive affect. We grew up in a time where suddenly you could own films. Before, they had a theatrical run, and then perhaps they'd come back, or you'd catch them in a retro cinema.
France can compete with the Hollywood studios in terms of animation savoir-faire, but not in terms of box-office figures. France is a small country, and the Americans are the masters of the world - for cinema, it's true.
People all over the world feed upon U.S. cinema and don't know about their own.
I'm at peace with myself. My film just may please audiences. At any rate, it's already a great prize to be part of just 16 films among all of the world cinema out there. I'm tranquil and satisfied.
What makes international cinema so interesting is that each territory has its own sensibility. When you look at an Indian or French film, there's a certain flavor. And even though the language is different, if the film is successful, it has something very common and understandable.
In a way, this is what the difference is between Hong Kong and Chinese cinema - Chinese cinema was made for their own communities. It was for propaganda. But Hong Kong made films to entertain, and they know how to communicate with international audiences.
Good cinema is good cinema. It makes you feel like you need to work. Just yesterday I saw a good film, but even if I'd seen a bad one, I'd feel, "Oh my god, what a bad job, I can do better."
The boundaries between contemporary art and cinema are so rigid. It's unbelievable. The film critics don't know my artwork and the art world doesn't know my films.
My favourite movie is: "Dr Strangelove". (I haven't seen any films released in the past 2-5 years, I'm afraid: I don't do TV/cinema).
If people go to IMDB, they will see that I'm very comfortable with independent cinema, and doing studio films too. For me this is not an either/or situation.
I totally agree. I hate knowing too much when I'm going to the cinema and watching as a viewer. I don't want to know that the actor has just gone through a divorce. I don't want to know that the person is an alcoholic. It just gets in the way of my pleasure of watching the character on the screen.
Cinema is dominated by stars you like from the get go.
Hollwood creates useful entertainment. There are millions of people on earth who need distraction and American cinema fulfills that function.
I earn my living by teaching film, mostly filmmaking but also teaching courses on current cinema. I'm interested in movies. I hope that's not all I'm interested in. In that sense, it's maybe a little misleading. I don't expect to make another movie about films, but I may continue to write about them.
What stirs my passion is making cinema, and that means doing different things, making different types of films.
The Oriental approach to violence is a much more aesthetic and poetic approach, whereas in the western world, violence is put in because you can't solve the problem. Violence is always the last solution, but unfortunately, in cinema, it's the first solution, because it's easy. And it's often too easy.
The problem with cinema nowadays is that it's a math problem. People can read a film mathematically; they know when this comes or that comes; in about 30 minutes, it's going to be over and have an ending. So film has become a mathematical solution. And that is boring, because art is not mathematical.
My thinking was that today's spectator is so well-versed in film language that all theories about suspense, as argued by Dreyer and Hitchcock, on what makes you scared in cinema, can be ditched. It's the spectator, finally, who's going to construct the menace and the fear.
I think that cinema has always progressed through exchanges.
The so-called "remake" is simply a commercial formulation of a much deeper exchange which accounts for the way cinema is what it is.
Every medium has its own kind of freedom. I don't want to just cross from one to the next. I want to enjoy the freedom each one has. Sometimes, you can do something for TV that you can't do in the cinema.
In terms of making TV drama, not everything has to make sense. In cinema, you usually strive for reality and a natural environment, but in TV, it's more acceptable to do something crazy and break with naturalism.
What the rest of the world knows about Mexico is what they see on films and the bad news they see on TV. We need to make films that are worthy of who we really are as Mexicans. We also need to make cinema that reflects the diversity in the region, so that Americans and Europeans know who Mexicans are, who Salvadorians are, who Cubans are, etc. We need to do it, and all we really need is support because we have the talent.
In this particular business [cinema], you don't choose your own experiences. They start to happen and then they start to peel off and make other ones happen, and then you can start choosing. But it happens to you.
Imagine, there is almost no possibility for a foreign language film to be distributed in America right now. That doesn't just make the industry poorer, it makes the landscape of cinema poorer, in America. The impossibility to get a good release on a really good European, Latin American, Asian movie is a tragedy.
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