Cinematic Quotes - Page 3

• I try to combine in my paintings cinematic feeling, emotional feeling, and sometimes actually writing on the page to combine all the different elements of communication.

  Sylvester Stallone

  Communication, Writing, Emotional

  "Sylvester Stallone still waging war against Communists, now with his paintings" by Sean O'Neal, www.avclub.com. November 05, 2013.

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• I don't make the best movies in the world, but at times, I do feel like I'm adding something to the cinematic community.

  Seth Rogen

  Community, World, Feels

  "Seth Rogen Talks Hosting the 2012 Spirit Awards, THE APOCALYPSE, PINEAPPLE EXPRESS 2, His Favorite Films of the Year, and More". Interview with Christina Radish, collider.com. February 15, 2012.

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• The actors are the greatest executors of tone in a film. They're the most important cinematic component.

  Alexander Payne

  Important, Actors, Tone

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• Screenwriting is the most prized of all the cinematic arts. Actually, it isn't, but it should be.

  Hugh Laurie

  Art, Directors, Should

  Biography/Personal Quotes, www.imdb.com.

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• Our music over the years has been very cinematic. It's surprising we never really got into film soundtracks.

  Martin Gore

  Years, Film, Soundtracks

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• And then, I suppose, there's also a cinematic reality on top of that. Because it was extremely difficult to keep tabs on, it was quite confusing acting that.

  Gabriel Byrne

  Reality, Confusing, Acting

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• There's something about a roller coaster that triggers strong feelings, maybe because most of us associate them with childhood. They're inherently cinematic; the very shape of a coaster, all hills and valleys and sickening helices, evokes a human emotional response.

  Diablo Cody

  Strong, Emotional, Childhood

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• All religions are branches of one big tree. It doesn't matter what you call Him just as long as you call. Just as cinematic images appear to be real but are only combinations of light and shade, so is the universal variety a delusion. The planetary spheres, with their countless forms of life, are naught but figures in a cosmic motion picture. One's values are profoundly changed when he is finally convinced that creation is only a vast motion picture and that not in, but beyond, lies his own ultimate reality.

  George Harrison

  Real, Lying, Light

  "Kṛṣṇa, the Supreme Personality of Godhead". Book by A. C. Bhaktivedanta Swami Prabhupada, 1970.

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• You have to question a cinematic culture that preaches artistic expression, and yet would support a decision that is clearly a product of a patriarchy-dominant society, which tries to control how women are depicted on screen. The MPAA is okay supporting scenes that portray women in scenarios of sexual torture and violence for entertainment purposes, but they are trying to force us to look away from a scene that shows a woman in a sexual scenario, which is both complicit and complex. It's misogynistic in nature to try and control a woman's sexual presentation of self.

  Ryan Gosling

  Self, Expression, Support

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• Up to and including the moment of exposure, the photographer is working in an undeniably subjective way. By his choice of technical approach, by the selection of the subject matterand by his decision as to the exact cinematic instant of exposure, he is blending the variables of interpretation into an emotional whole.

  W. Eugene Smith

  Emotional, Choices, Decision

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• To my mind any phenomenon is paracinematic if it shares one element with cinema, e.g., modularity with respect to space and time.

  Hollis Frampton

  Space, Mind, Cinema

  "On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton".

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• The poet’s life is just so much crenellated waste, nights and days whipping swiftly or laboriously past the cinematic window. We’re hunched and weaving over the keys of our green our grey or pink blue manual typewriter maybe a darker stone cold thoritative selectric with its orgasmic expectant hum and us popping pills and laughing over what you or I just wrote, wondering if that line means insult or sex. Or both. Usually both.

  Eileen Myles

  Sex, Mean, Past

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• Pace is crucial. Fine writing isn't enough. Writing students can be great at producing a single page of well-crafted prose; what they sometimes lack is the ability to take the reader on a journey, with all the changes of terrain, speed and mood that a long journey involves. Again, I find that looking at films can help. Most novels will want to move close, linger, move back, move on, in pretty cinematic ways.

  Rose Tremain

  Moving, Writing, Journey

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• I don't like the strictly objective viewpoint [in which all of the characters' actions are described in the third person, but we never hear what any of them are thinking.] Which is much more of a cinematic technique. Something written in third person objective is what the camera sees. Because unless you're doing a voiceover, which is tremendously clumsy, you can't hear the ideas of characters. For that, we depend on subtle clues that the directors put in and that the actors supply. I can actually write, "'Yes you can trust me,' he lied." [But it's better to get inside the characters' heads.]

  George R. R. Martin

  Writing, Character, Thinking

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• THE ACT OF KILLING invents a new form of cinematic surrealism.

  Werner Herzog

  Killing, Form, Surrealism

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• I've taught both screenwriting and playwriting, and playwriting is both much harder and much more rewarding. One can teach people how to tell a story in cinematic ways, but theater is a much more elusive craft.

  David Ives

  People, Theatre, Stories

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• If I never do another movie, I will have had the privilege of working on one of the big Hollywood movies with top people, creating a world that can only be described as totally cinematic

  Christine Baranski

  Creating, People, Hollywood

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• Cinematic and symphonic: this is a compelling story revealed in a sequence of voices that are as pitch-perfect as they are irresistible. This is a wonderfully impressive debut: tender, muscled and unforgettable.

  Rikki Ducornet

  Voice, Perfect, Stories

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• 3D is quite a lot more advanced in animated movies; for live-action movies we're just taking baby steps, we're just in the beginning. So when I think of doing that I was very excited. It didn't go as far as I think it should, I'm still a novice, but I think it's fair to say it's a new cinematic medium, experience.

  Ang Lee

  Baby, Thinking, Steps

  "Ang Lee Talks LIFE OF PI, the Difficulty of Getting the Project Off the Ground, 3D as a New Artistic Form, Deleted Scenes and More". Interview with Steve 'Frosty' Weintraub, collider.com. October 3, 2012.

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• I think it[3D] should be used as a new artistic form, not as a gimmick, not to impress you but the existence of an environment that you view as a theatrical dramatic experience is - you don't just have the X-Y axis, you have the Z and that makes a difference. You still have the framing, you still use lenses, so most of the cinematic rules and languages still apply but I think it's a different existence.

  Ang Lee

  Thinking, Views, Differences

  "Ang Lee Talks LIFE OF PI, the Difficulty of Getting the Project Off the Ground, 3D as a New Artistic Form, Deleted Scenes and More". Interview with Steve 'Frosty' Weintraub, collider.com. October 3, 2012.

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• [W]hen you're shooting a doc, you're trying to class it up because you can. You know, you're trying to make this feel like cinematic experience. And when you're doing fiction you're trying to do the opposite thing you're trying to take this very artificial experience this very artificial experience and make it feel real and visceral.

  John Hyams

  Real, Opposites, Class

  Source: collider.com

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• I base everything on my own life experiences as a female. I start from there, and then I look for characters and settings that I think are cinematic, where I can use symbols and imagery to tell a story.

  Anna Biller

  Character, Thinking, Stories

  Source: www.interviewmagazine.com

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• When you write a scene where somebody is afraid of something you instantly go to decades of genre cinema: horror, suspense, and thrillers. Those are very cinematic genres, when you shoot a close-up of someone and you can see fear in the person's face, or anticipation, or some kind of anxiety, it's a very cinematic image.

  Kleber Mendonca Filho

  Writing, Anxiety, Faces

  Source: blogs.indiewire.com

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• Getting the audience to cry for the Terminator at the end of T2, for me that was the whole purpose of making that film. If you can get the audience to feel emotion for a character that in the previous film you despised utterly and were terrified by, then that's a cinematic arc.

  James Cameron

  Character, Purpose, Emotion

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• ather than Eisenstein's fast and hard cutting, I like to hold the shot very still and for longer than we're accustomed to. For me personally as a viewer, this technique invariably causes me to have waves of emotions that I think arise from a profound form of mindful awareness and the feelings that go along with that. I am frequently brought to tears by this kind of existential cinematic technique.

  Jenni Olson

  Cutting, Thinking, Profound

  Source: blogs.indiewire.com

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