A decade or so ago, all over the world, cinemas underwent one of those prince-into-frog mutations, and became, instead popcorn-restaurants, which offered the option of visual diversions for diners.
There are large numbers of people in India below the poverty line, there are large numbers of people who lead a meager existence. They want to find a little escape from the hardships of life, and come and watch something colorful and exciting and musical. Indian cinema provides that. So yes, the content of our television and our cinema is escapist in nature because we are there to provide entertainment.
I definitely felt that I was put at a very high place to be able to be a part of such a wonderful franchise in cinema history, so I was definitely very driven at doing a great job and having my body look the way it should and just being a part of the creative process.
The cinema has the power to make you not feel lonely, even when you are.
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.
Culture is fundamental. Literature saves you. Cinema saves you.
There is no border. I'm branding my films as Malay cinema, but it's just about cinema. Everything that I make is about humanity's struggle, so there is no border, really.
Cinema is the greatest mirror of humanity's struggle. You see this alternative world, but you're part of it. Everybody is part of it. This is our world.
There is no border in my films. You can see yourself in these stories. This is the greatest thing about the power of cinema. It's very present. It's all there. You can't escape it.
The novelistic attribute of my work is very much like the Russian way of creating novels. Tolstoy, Dostoyevsky - their work has so many gaps. But for the reader, you cannot erase those gaps because they are important. They contextualize the whole struggle. My cinema is like that.
I make films, and festivals, museums, and academia are embracing the work. It will be heard. It's bound to happen because cinema is universal. You create it, some people will notice it, some people will watch it.
I wouldn't want to do a Bollywood film per se, but I would like to do an Indian-language film. For some reason I think Bollywood has become synonymous with commercial cinema, which is song and dance and everything that is larger than life, and I am interested in the reality.
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.
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.
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.
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.
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 spent my entire time reading books and going to the cinema, just to escape.
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.
Cinema is magic in the service of dreams.
There's a difference between watching a film and watching a bit of cinema and enjoying a film as a piece of cinema.
When I'm writing, it's about the page. It's not about the movie. It's not about cinema. It's about the literature of me putting my pen to paper and writing a good page and making it work completely as a document unto itself. That's my first artistic contribution. If I do my job right, by the end of the script, I should be having the thought, 'You know, if I were to just publish this now and not make it . . . I'm done.
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.
In American cinema, people will take a chance on you, though they'll often remind you that really, they always liked you.
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.
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