Oh how Shakespeare would have loved cinema!
I am an animator. I feel like I'm the manager of a animation cinema factory. I am not an executive. I'm rather like a foreman, like the boss of a team of craftsmen. That is the spirit of how I work.
The whole point of art, as far as I’m concerned, is that art doesn’t make any difference. And that’s why it’s important. Take film: you can have quite extreme emotional experiences watching a movie, but they stop as soon as you walk out of the cinema. You can see people being hurt, but even though you feel those things strongly, you know they’re not real.
I tend to play characters that I can infuse with certain kinds of humour. Even the baddest guy can be funny in his own particular way. I want the audience to engage with the character on some deeper level so that they leave the cinema still thinking about him.
When I make a film I'm always in reality among the trees, and among the people like yourselves. There's no symbolic or conventional filter between me and reality as there is in literature. The cinema is an explosion of my love for reality.
I think it's important that we all try to give something to this medium, instead of just thinking about what is the most efficient way of telling a story or making an audience stay in a cinema.
It has been said that I have three heroes: Christ, Marx and Freud. This is reducing everything to formulae. In truth, my only hero is Reality. If I have chosen to be a filmmaker as well as a writer it is because, rather than expressing reality through those symbols that are words, I have preferred the cinema as a means of expression - to express reality through reality.
Cinema is a technologically mediated dreamspace, a way to access, a portal to the numinous that unfolded in the fourth dimension, so cinema became sort of a waking dream where we can travel in space and time, where we can travel in mind. This became more than virtual reality, this became a real virtuality.
Juxtaposing a person with an environment that is boundless, collating him with a countless number of people passing by close to him and far away, relating a person to the whole world, that is the meaning of cinema.
Architecture exists, like cinema, in the dimension of time and movement
Life is not just eating, drinking, television and cinema...The human mind must be creative, must be self-generating ; it cannot depend on just gadgets to amuse itself.
I live cinema and passionately love music, and my efforts in both these crafts are unfolding.
I think my dyslexia was a vital part of my development because my inability to read and write meant that I had to find knowledge elsewhere so I looked to the cinema.
As a child, as a cinemagoer, I think there is nothing better than being in a cinema or watching a film. I think it's just a while magical...it almost feels like you're at a big party in India, where you're singing, you're dancing, you're laughing, you're crying, you feel like you're at a wedding because our films invariably cover all emotions.
Luck usually visits me at 2 am on a cold morning when, red-eyed and bone-weary, I am pouring over law books preparing a case. It never visits me when I am at the cinema, on a golf course or reclining in an easy chair.
Garbo still belongs to that moment in cinema when capturing the human face still plunged audiences into the deepest ecstasy, when one literally lost oneself in a human image as one would in a philtre, when the face represented a kind of absolute state of the flesh, which could be neither reached nor renounced.
I know my comfort zone and I know what my strong points are and my first love was always music. I'm a huge cinema fan. I was taking my time; I got offered a lot of scripts and things along the way but until Burlesque showed up at my doorstep, it really spoke to me. I have a collection of burlesque books at home that I've had for years. I've always been intrigued and fascinated with the topic, the beauty and the art of it and the comedic value of it. I think it's just a beautiful, empowering thing for women.
The cinema is a place of intrinsic indiscernibility between art and non-art.
I believe that cinema picks up ideas from society and not the other way round.
The way America appreciates cinema is different from anywhere in the world. It's celebrated and supported. I don't just mean by the individuals, but financially as well people are throwing money at certain projects.
I think films would get a lot better if people paid leaving the cinema. There's a whole business plan of opening terrible films in hundreds of cinemas and then closing them when the word of mouth gets out.
It seems to me that dominant cinema seems to require an empathy or a sympathy between the film and the audience which is basically to do with the manipulation of the emotions and it seems to me again -- and this is a very subjective position -- that most cinema seems to trivialise the emotions, sentimentalising or romanticising them.
There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.
I never go to the cinema. I can't stand sitting in the dark with strangers -- all of us obliged to share the same emotional experiences -- it's too intimate. I like to be emotional in private.
I think there's a side of me that's trying to compete with Lucas and Spielberg - I don't usually admit this publicly - because I tend to think that they only go so far, and their view of the world is rather simplistic. What I want to do is take whatever cinema is considered normal or successful at a particular time and play around with it - to use it as a way of luring audiences in.
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