I've always been drawn to a certain kind of dark aesthetic in cinema and in film, to what's abjected or considered abject. I've been tremendously influenced by noirish cinema whether that's Von Sternberg or Scorsese in the 70s or Lynch, etc.
Kati with an I was a New York Times Critics' Pick and I was really happy that it got a run uptown in Harlem at the Maysles Cinema, which is a great space but isn't necessarily the most well attended for a week-long screening.
Whether people are making narrative cinema or experimental cinematic movie experiences, they all want the biggest screen possible and the quietest room and the most attention to every nuance and detail. Obviously, most people will not see the movie that way, but I can still hope for it, and I'd like to think we will be able to pull it off this time.
Cinema is mass media, it is both overtly gross and exciting. It is our great mirror of society.
There will always be a theatrical experience because there will always be cinemas no matter what. It's like there will always be theaters to have stage plays in.
I think the contrast between these two in the professional world of cinema mattered to me. One who has reached the ultimate point of being a star, who knows how to do everything very well, facing another person who would throughout the making of the film transfer his anxiety to both of us, to me and to Juliette, as to whether or not he would be capable of fulfilling his role. This in itself created a challenge that was actually very good for me, since I hadn't ever counterposed two such performers before, creating that challenge between someone who knows their part and someone who doesn't.
People have curiosity, they have intelligence, they have interest in understanding their peers. But producers and directors of cinema have decided that the seats in the theaters have been made to transform people's minds to lazy minds.
That's the funny thing about cinema, it is an intellectual medium, but it's also sort of anti-intellectual.
You don't have to be musician to listen to music, and you don't have to be a filmmaker to go to the cinema, but somehow when we think of science, we think of it only as an academic discipline.
I'm like a weird actor. I feel like I'm vastly uneducated when it comes to the cinema.
Critics are giving marks for originality, acting, photography and scripting, while mass audiences are more drawn to familiarity of genre, stars they would like to have sex with or plots that are more likely to make their dates have sex with them. Reviewers are doing their day's work, cinema-goers are escaping from theirs: this leads to an inevitable difference of response. It is, though, wrong to conclude that reviewers are completely useless. Books, movies and shows may be critic-proof, but the egos and psyches of the people who make them very rarely are.
Writers would hate me saying this, and I love words, but I have to say that cinema exists, on one level, for the power of the big image and what that image does.
Musicals and horror films can be very non-verbal and very pure cinema with movement. The camera is justified in being a character. It can really move and tell a story, and literally direct you to look here or there.
People go to the cinema to be moved; they wanna laugh, they wanna cry, they wanna feel something deeply, especially if they're not feeling deeply in their own lives.
When you go to the cinema you look up, when you watch television you look down.
My theory is, I don't know how long it's going to be five or ten years, there will be only two ways to see a movie and that will either be on your computer through your TV screen or in the cinema, end of story. There will be no DVD, that's it, simple.
The pay window will be: you can choose how and when you see, whether you see it on Comcast or Warner's Cable delivery system or Sky in the UK or you can buy it through Apple, or you might even buy it directly from the studio's site. Who knows? But that will be it. You'll go to the cinema and you'll find a way of digitally interacting with the piece; you'll either buy it or rent it or whatever.
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.
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.
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.
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.
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.
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.
Cinema was always taking the big risks, and TV was ambling along behind, just trying to touch the hem.
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.
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