Cinema Quotes - Page 12

• I never really had any intention of getting involved in documentaries until the opportunity came around. I always thought much more in classic fiction cinema terms and I think I tried to apply those ideas to documentaries and not vice versa.

  John Hyams

  Opportunity, Thinking, Ideas

  Source: collider.com

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• I knew that this was the movie in which a lot of the cinema version of Burton-esque first started. So, I knew that there were things that were hugely important to him for it, but it didn't really feel that different than working on any other of these projects.

  John August

  Important, Different, Firsts

  Source: collider.com

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• I think that there's a very lucid side in cinema: entering a theater and seeing the film.

  Miguel Gomes

  Thinking, Entering, Sides

  "The Epic Miguel Gomes". Interview with Colleen Kelsey, www.interviewmagazine.com. December 3, 2015.

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• I think that I prefer to shoot characters even if they are not good people. I don't think that cinema is a place where you can do sentences like in a court.

  Miguel Gomes

  Character, Thinking, People

  "The Epic Miguel Gomes". Interview with Colleen Kelsey, www.interviewmagazine.com. December 3, 2015.

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• Blade Runner is one of my favorite films. But, so many thing influenced me that aren't science fiction because they were just good drama. I grew up watching a lot of French cinema. I was in love with The English Patient, and movies that are very romantic in nature and have a positive message. That's a large part of my fingerprint.

  J.H. Wyman

  Drama, Blade Runner, Messages

  Source: collider.com

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• There was a period of cinema, in the mid-90's, that I was a huge fan of, with Heat and Seven, and the Tarantino era. If I've ever been fanatical, it was about those films.

  Rockne S. O'Bannon

  Fans, Eras, Heat

  Source: collider.com

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• Being the director is really something. It's a statement of something and you have to stand up for that. Okay, this is what I see. This is how I see the world. This is how I see cinema. And you have to be able to talk about that and explain it and be responsible.

  Mathieu Demy

  Directors, World, Able

  Source: collider.com

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• That's grossing money for other people that has a multiplying factor, but the government doesn't see that. It doesn't see that making a film or culture or art is part of our economy. But the main reason is this, it's part of our identity. I think cinema is the memory and the imagination of the country. Take the memory and imagination out of an individual and he's stops being an individual.

  Philippe Falardeau

  Country, Art, Memories

  Source: collider.com

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• If you look at the Oscars and look at the Best Foreign Language series, you see that the films are coming from everywhere - from Quebec, Israel, Poland, and Belgium. It's not the usual French, German, etc. This category is opening up to socially engaged and political films. I think we're going to see a cross over to the main categories also. It's part of this global environment now and I'm grateful that the Academy is having this window on world cinema.

  Philippe Falardeau

  Grateful, Thinking, Israel

  Source: collider.com

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• Jeff always says, "In the cinema, everybody goes to sci-fi. Those are the biggest movies. But, in television, nobody wants to touch it with a barge pole." It's strange. I think it's because maybe there's a legacy of television shows that depicted sci-fi in a certain way that turns off a lot of viewers, so maybe there's a negative connotation.

  J.H. Wyman

  Thinking, Legacy, Negative

  Source: collider.com

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• The Germans were much more graphical. The expressionism is much more than cinema. It was a movement with artists, painters, music and architecture, so it's really graphic and visual. And the French were something else.

  Michel Hazanavicius

  Artist, Movement, Architecture

  "Director Michel Hazanavicius THE ARTIST Interview". Interview with Sheila Roberts, collider.com. November 26, 2011.

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• In truth, the cinema as a delivery system obviously has its days numbered. And that's not a bad thing. When you can buy any book in the world on your iPad, or off Amazon, you don't go the public library. The public library becomes about homeless gentlemen sleeping in chairs.

  William Monahan

  Book, Sleep, Ipads

  Source: collider.com

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• Cinema was always taking the big risks, and TV was ambling along behind, just trying to touch the hem.

  Nick Willing

  Risk, Trying, Hem

  Source: collider.com

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• I watch all the classic films that film people say that you ought to have seen, and I try to watch things in the cinema when they come out, just to keep my eye on the competition. I'm bored when I'm not working.

  Sam Riley

  Eye, People, Bored

  Source: collider.com

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• The chief attraction of the opposite sex for all of us, old and young, men and women: we need someone to save us from the sympathetic smiles in the Sunday-night cinema queue, someone who can stop us from falling down into the pit where the permanently single live with their mums and dads.

  Nick Hornby

  Sex, Dad, Fall

  Nick Hornby (1996). “High Fidelity”, p.152, Penguin

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• The enigma of cinema is gone because of the focus on business. As soon as you attach numbers to a film, you limit it. Films are meant to be an escape from reality.

  Shahrukh Khan

  Reality, Numbers, Focus

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• I always think that if you deal with extremely emotional, even melodramatic, subject matter, as I constantly do, the best way to handle those situations is at a sufficient remove. It's like a doctor and a nurse and a casualty situation. You can't help the patient and you can't help yourself by emoting. And I don't think cinema is intended for therapy, so I object also to that huge, massive manipulation which is perpetrated on the public.

  Peter Greenaway

  Emotional, Thinking, Doctors

  "Flesh and Ink". Interview with Christopher Hawthorne, www.salon.com. June 06, 1997.

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• Among today's directors I'm of course impressed by Steven Spielberg and Scorsese, and Coppola, even if he seems to have ceased making films, and Steven Soderbergh - they all have something to say, they're passionate, they have an idealistic attitude to the filmmaking process. Soderbergh's Traffic is amazing. Another great couple of examples of the strength of American cinema is American Beauty and Magnolia.

  Ingmar Bergman

  Couple, Attitude, Directors

  "Sydsvenska Dagbladet", Swedish daily newspaper, May 2002.

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• It is said that anyone who does commercial cinema is not acting, and anyone who does an art film is acting. I don't believe it. I feel whenever you are doing a film, you are acting. So you need to be applauded for that. I won't do art house cinemas. I want to make commercial films. I want my films to make money.

  Bipasha Basu

  Art, Believe, House

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• It was Vikram Bhatt and 'Raaz' that got me interested in the medium of cinema. Before that, I was like any other youngster dabbling with various things - modelling, films - without a definite direction or focus. Now that I'm working with all of them, life has come full circle for me.

  Bipasha Basu

  Circles, Focus, Full Circle

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• Cinema as a means of expression fascinates me.

  Orson Welles

  Mean, Expression

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• I have Algerian, Turkish, Swedish, Spanish blood: I feel like a citizen of the world. Life and cinema don't have borders.

  Eva Green

  Blood, Borders, Citizens

  Biography/Personal Quotes, www.imdb.com.

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• In the Indian film industry, especially those of us who are in mainstream cinema, we invariably play a typical hero's role. More often than not, we cater to the public perception. However, there is a latent desire in most actors to do a role where you can go all out and experiment.

  Abhishek Bachchan

  Hero, Play, Perception

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• Watching a movie should be like hunting. Out of context, every image of the cinema is yours for a split second. Take them before they bury it.

  John Waters

  Hunting, Splits, Should

  John Waters, Marvin Heiferman, Lisa Phillips (2004). “John Waters: change of life”, Harry N. Abrams

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• Everything that we see in our daily lives is more or less distorted by acquired habits and this is perhaps more evident in an age like ours when cinema posters and magazines present us every day with a flood of ready-made images which are to the eye what prejudices are to the mind. The effort to see things without distortion demands a kind of courage; and this courage is essential to the artist, who has to look at everything as though he were seeing it for the first time.

  Henri Matisse

  Eye, Artist, Effort

  Henri Matisse, Jack D. Flam (1995). “Matisse on Art”, p.218, Univ of California Press

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