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.
The cinema has the power to make you not feel lonely, even when you are.
Look, I wasn't saying the Beatles are better than God or Jesus. I said 'Beatles' because it's easy for me to talk about Beatles. I could have said TV or the cinema, motor cars or anything popular and I would have gotten away with it.
Culture is fundamental. Literature saves you. Cinema saves you.
Cinema is magic in the service of dreams.
One has to choose between engaging in stylistic research or the mere recording of facts. I feel that a filmmaker must go beyond the recording of facts. Moreover, I believe that Africans, in particular, must reinvent cinema. It will be a difficult task because our viewing audience is used to a specific film language, but a choice has to be made: either one is very popular and one talks to people in a simple and plain manner, or else one searches for an African film language that would exclude chattering and focus more on how to make use of visuals and sounds.
I spent my entire time reading books and going to the cinema, just to escape.
I do feel like my music, in some weird way, is probably better suited for cinema than for anything else - I can't really explain, other than I think that music has been mostly inspired often by soundtracks.
I know Camberwell very well: I used to go to Camberwell New Baths a lot and the cinema, which used to be the Odeon. My old school is around there too, though you've got to understand that I went to a lot of schools.
It's often pointed out that in Cuban cinema there are too many comedies, but a sense of humor is so much part of the Cuban idiosyncrasy. Curiously, the films that have been censored the most have been humorous.
The whole 'R' rating depends on a strange sort of fantasy land where all adults are responsible people, and children only ever go to the cinema with their parents.
And having those mystical elements you see in Asian cinema and certainly Asian martial arts cinema, it's something that we wanted to begin to introduce - the idea of spirituality and the idea of there being something else out in the world besides people who are great fighters.
I loved cinema from a very young age. I was also obsessed with Hitchcock and actresses like Kim Novak in Vertigo. They all played heroines and were strong, powerful women, yet they were very feminine.
All my life, I have loved and been inspired by French cinema, and as a studio head it has been my pride and joy to have the ability to bring movies to audiences around the world.
In American cinema, people will take a chance on you, though they'll often remind you that really, they always liked you.
I never used to watch horror films because I was a nervous type. I believed all the publicity about The Exorcist when it was released - you know, all that nonsense about people fainting in the cinema - and decided it would definitely freak me out. I particularly remember my girlfriend telling me about Suspiria - ironic considering my first ever film work was with Argento - and how scary it was.
The films that I go to see at the cinema are not Hollywood blockbusters particularly. I've not got anything against them... I'm in them! But I don't go and spend my money on them.
One of the more problematic aspects of the current state of cinema in Japan is that the movies playing in the theaters are by and large made not by film studios but by broadcasting companies. They're either extensions of popular television dramas or adaptations of manga or anime. Younger Japanese are simply not being exposed to good films. That situation needs to change.
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