Every viewer is going to get a different thing. That’s the thing about painting, photography, cinema.
We wanted ‘Hugo’ to be a cornucopia of cinema, a celebration of everything we do in movies.
I have always said that the biggest difference between stage and cinema is that one has got close-ups.
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.
I try to get closer to reality, to get close to the contradictions. The cinema world can be a real world rather than a dream world.
The influence of cinema on all contemporary writers is undeniable. Because film is such a powerful and popular art form, we prose writers think cinematically.
Somebody said that part of my reaction to British cinema is actually, paradoxically, a patriotic one. I’m so disappointed that we’re not better.
In the film industry, all the money is focused on television and the stupidity of American cinema.
Let’s not betray cinema with marketing inside the film. If it’s done outside, then it’s ok. That is essential to integrity.
I ended up being exposed to cinema that a lot of other kids wouldn’t have been exposed to.
Like everybody, I wanted to meet Andy Warhol. I was impressed by his work and how daring he was. I think he changed the cinema completely, simply by opening his camera and letting it go.
I’m not a Little Englander. Historically, British people have always been travellers. I look in the world as one place. You have to think in a global sense. Cinema is a global endeavour. My roots are in England but my endeavours are worldwide.
Everything about ‘UY’ is new and fresh, and we are extremely happy at the response from the audiences, as most people are walking out of cinema halls with a smile on their faces.
Of course the French are making very credible movies and it is still one of the greatest nations in terms of world cinema but the real problem is the decay in film criticism.
I have grown up watching Aditya Chopra and Karan Johar movies. Naturally, I aspire to be a part of their kind of cinema.
Kubrick showed us something special. Every film was a challenge, and a direct assault on cinema’s conventions.
I’m of course disillusioned with what has happened to World cinema. Now cinemas in both Eastern and Western Europe are filled with the same blockbusters from Hollywood.
The beauty of cinema is that it can do some things that novels just can’t.
Everybody in the two Telugu states, especially the residents of Vijayawada, love both cinema and politics. And ‘NOTA’ is a cinema with a political subject.
I didn’t go to the cinemas a lot as a kid.
The cinema is there to heighten the imagination; I have always tried to make sure it does so.
With virtual reality, I’m not interested in the novelty factor. I’m interested in the foundations for a medium that could be more powerful than cinema, than theatre, than literature, than any other medium we’ve had before to connect one human being to another.
I kind of worry about that a little bit – we lost our film culture for 30 years because the Americans came in and bought up all the cinema chains and wouldn’t show any Australian films.
What’s the point of doing a great character in a bad film? Instead, I want audiences to thoroughly enjoy a film and remember my part when they walk out of a cinema hall.
Many for whom the stage has been the launch pad to cinema have forgotten their roots. I don’t intend to, ever.
Cinema is a director’s medium, so you’re saying, ‘What do you want?’ Being an actor is about adapting – physically and emotionally. If that means you have to look great for it and they can make you look great, then thank you. And if you have to have everything washed away, then I’m willing to do that too.
It’s a standard staple in Japanese cinema to cut somebody’s arm off and have red water hoses for veins, spraying blood everywhere.
The cinema that interests me departs from realism.
The notion of directing a film is the invention of critics – the whole eloquence of cinema is achieved in the editing room.
I don’t go to the cinema much.
I feel like my job as a storyteller and director is to create an experience where the audience forgets they’re in a cinema and can get lost in the story. Things popping out of the screen call attention to the artifice of what you’re doing, so I use 3D as more of a window into a world behind the screen.
Tribeca Film Festival Doha will promote Middle Eastern themes and filmmakers, but not exclusively. Approximately 40 films will be presented at the new Museum of Islamic Art and in cinemas across Doha. Innovative work by established filmmakers will be shown alongside the debuts of newly discovered directing talents.
Film is pop art. It’s not whether it’s auteur cinema or not; that’s a false distinction. Cinema is cinema.
Cinema is changing every week, and multiplex audiences are demanding every week.
A cinema villain essentially needs a moustache so he can twiddle with it gleefully as he cooks up his next nasty plan.
I work for the public, for the people who are paying to go to the cinema, rather than for the critics.
Well, you cannot think of cinema now, and you cannot think of cinema in the UK and not place Chaplin in the most extraordinary elevated context, if there can be such a thing, in that he was a genius, he was unique.
We have been influenced by you in the U.S. a lot. Not because anybody exerted pressure on us – if anyone puts pressure on us, we go the other way. But if you put a movie in the cinema and I watch it, I will be influenced.
I so hate the term Bollywood. I know it’s become synonymous with the industry but really we are ‘Indian cinema.’
Audiences change because life changes. Countries change geographically, climatically, socially and morally. Many things happen, and cinema, in a sense, reflects what’s happening in the world.
Cinema has only been around for about 100 years. Has all of the world’s violence towards women taken place only within the past 100 years?
On the outside, America looks like this great melting pot, but on the inside, there’s this segregation in American cinema. Why does a Latino film have to be for Latinos? Why is a black film just for black people? Why?
Even the great bad guys in cinema history, they’re likable.
American cinema tends to express a patriotic relationship to national identity on a regular basis.
Cinema sustains life. It captures death in its progress.
When I’m doing theatre, I prefer to be doing cinema. When I’m doing cinema, I prefer to be doing theatre.
I like it when somebody tells me a story, and I actually really feel that that’s becoming like a lost art in American cinema.
It is very good to bridge the gaps between Indian and international cinema.
In the evening, we either go to the cinema or stay in and get a takeaway – my favourites are Chinese or Indian.
I try to read as much as I can – all the time, really. And I absolutely love going to the cinema, especially during the day.
For me, those little cinemas in Paris where I saw many art films for the first time meant that cinema became a kind of pilgrimage site.
Cinema is a platform open to all kind of views and it is very unrealistic to think that everyone can be happy.
Cinema is a world of imagination.
Because I was a kid from north of England, the only films I had access to was not alternative cinema, which in those days would be foreign cinema; I would be looking at all the Hollywood movies that arrived at my High Street.
I love indie movies. I think that independent cinema is where it’s at and where a lot of trends begin. It’s where new filmmakers are breaking through.
I’m so happy when someone does something original, and there’s no focus group or planning committee. If the cinema doesn’t get an injection of that once in a while, we’re in trouble.
The first time I went to the cinema was with my father. He was a huge fan of Peter Ustinov, so we went to see ‘Death on the Nile’ at the Hampstead Ionic.
I don’t watch television and I rarely go to the cinema, but I recently watched ‘The King’s Speech’ on a flight. It was so beautiful and so simple.
I had no aspirations to be part of American cinema… I was really a Europe-based person, and those were the films I was inspired by.
A visit to a cinema is a little outing in itself. It breaks the monotony of an afternoon or evening; it gives a change from the surroundings of home, however pleasant.
I saw ‘The Exorcist’ at the cinema when I was quite young, maybe 14. When I went back home, my mum and dad weren’t in, so I had to wait for them on the main road. I were too scared to enter the house.
To get art nowadays, in cinema or books or anything, that grapples with the possibility of a meaningless universe… it just doesn’t happen any more. In even the most indie of the indie films, everything has to come to some kind of neat conclusion.
I went to the University of Michigan for one year, and fortunately they had a foreign-film cinema, and I discovered it, and I thought I died and went to heaven.
