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.
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.
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.
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.
I'm interested in the cultural thing - music, then eventually cinema. I think it's part of my struggle as a cultural worker. I'm not into the armed thing. I cannot be violent.
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'm not hoping to see that day but I know that my cinema will reach Filipinos. I know that they will embrace it one day. It will happen. I'm very sure of that. I still have faith in cinema. I still believe it can affect change.
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.
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.
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.
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.
A cinema villain essentially needs a moustache so he can twiddle with it gleefully as he cooks up his next nasty plan.
I love silent cinema but don't hold it sacred. Like any branch of film there are some very boring films alongside the masterpieces.
I like and I love everything that has to do with cinema, writing, directing, editing, creating music, and even acting.
I think the first British actor who really worked well in cinema was Albert Finney. He was a back-street Marlon Brando. He brought a great wittiness and power to the screen. The best actor we've had.
I wouldn't use the word 'scared' for my role as Hitchcock, but it was my most insecure. Taking on such a formidable, giant personality such as Hitchcock; he was one of the great geniuses of world cinema. Sheer genius.
The most important question in American cinema, I've learned, is 'When is lunch?'
I even think the commercial element of new American directors is really fertile right now. There are a lot of filmmakers with very particular visions, like Sofia Coppola and Wes Anderson and P.T. Anderson and Alexander Payne and Peter Sollett and Harmony Korine and Vincent Gallo. At least they're making films that they choose to make, and they're on their own. That's positive to me. This is not a dead period for American cinema at all.
Unfortunately, my ideas are not what you'd call commercial, and money really drives the boat these days. So I don't know what my future is. I don't have a clue what I'm going to be able to do in the world of cinema.
I love dabbling in different genres, and I like being good at different genres of cinema.
I work in between the cracks, where the voice starts dancing, where the body starts singing, where theater becomes cinema.
For me, filmmaking combines everything. That's the reason I've made cinema my life's work. In films, painting and literature, theatre and music come together. But a film is still a film.
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