I chose to tell a personal story. When you tell a movie like this that's as emotionally charged as this is, it's a risk. As one of my great cinematic heroes, Francis Coppola, would say, "If you aren't taking the highest, greatest risk, then why are you a filmmaker?"
I don't think I'm more of a screenwriter than I am a fiction writer. I'm more of a reader than a film-watcher, so I imagine that I'm not approaching fiction or films in a particularly cinematic way.
I am surely a feminist filmmaker, but not because I set out to become one, or am trying to make any kind of statement. Rather, it's inherent in the act of expressing myself, as a woman who is deeply alienated from mainstream cinematic structures of seeing. I express myself and am instantly feminist.
I often really like to play with documenting my performances cinematically. Cinematic documentation is much more interesting than the performance itself.
I am not interested in simply working as a director. If I am not making movies that I want to make, that I feel passionate about, or that I feel are hopefully at the level of cinematic quality that I feel they should be then I am not really that interested.
The Marvel cinematic universe and the Marvel animation universe are things that are very true, in terms of the DNA of what it is. But if, at the end of the day, all we're doing is telling stories that have appeared in the comic books already, then we're not really challenging anybody.
I was trying to get the slightly more cinematic version of my relationship with my mom, which I think was a really common relationship. I adored my mom. I thought she was the best. I loved her very much.
For Fleur de Chine, I imagined the romantic and mysterious women from Asia's cinematic past-from the '30s femme fatale in a cheongsam and dark lipstick, to the'60s Hong Kong heroine of In the Mood for Love. I wanted to capture that fascinating, exquisite and slightly scandalous femininity.
First of all, on a cinematic [level], the film answer to that is that Roger Corman was creatively responsible for a lot of cinema history.
I'm not a cinematic cinematic person. I go to the movies like I did back when I was a kid. I go to the movies and I sit down. If the music works, hmm. If it doesn't work, hmm. The whole concept of the thing, not as one piece here or there. For me, music is a large part.
Even the best documentaries reach tens of thousands in their cinematic window. I believe that by launching online, we could potentially reach millions.
Without trying to get too self-indulgent, there's a fine line between making something that's soundtracky and cinematic, or making it sound like a bad 70s prog-rock record.
Some of the key components, we wanted it to be so far into the future that you weren't talking about our time. I was joking that the AMC cinematic universe is after the zombie apocalypse by hundreds and hundreds of years.
Some of my favorite movies are Hollywood movies. Hollywood is part of the cinematic spectrum. I nurture a healthy love-hate relationship with Hollywood.
When I was developing the [TV Series "Daredevil"] idea, we were really doing something closer to what was in the comic book. By that, I mean in terms of civilians in the street knew that superpowers were an everyday matter of fact. When it finally ended up at Netflix, they really decided to land it in the Marvel Universe that exists in the cinematic universe. That changes the story entirely. It was no longer about the other, which is what that metaphor was. It's really more about the character herself, which I love.
Completely committed to adapting 'Fifty Shades of Grey'. This is not a joke. Christian Grey and Ana: potentially great cinematic characters.
One of the challenges was to make a cinematic movie about literally talking heads and to try to make it feel like something you want to see in a theater.
Western man represents himself, on the political or psychological stage, in a spectacular world-theater. Our personality is innately cinematic, light-charged projections flickering on the screen of Western consciousness.
The art of watching has become mere skill at rapid apperception and understanding of continuously changing visual images. The younger generation has acquired this cinematic perception to an amazing degree.
Audiences looking for a rich, textured, cinematic experience will be put off and disconcerted by an image that looks more like an advanced version of high definition television than a traditional movie.
In the case of my second film The Fish Child (El Niño Pez), I had written the novel about 5 years before I made into a film. In the case of The German Doctor I had published the novel a year before I started writing the script, I even had another project to shoot. But I had this idea of the powerful cinematic language from the novel that I couldn't let go of.
Both cinematic culture and the culture at large have changed profoundly. We're now in post-cinematic digital culture, and the internet has obviously usurped movies, which are no longer central to our lives, at least not as a collective spectator experience.
There's always changes in the way they do that in the cinematic universe. I think, with the S.H.I.E.L.D. 2.0, you're seeing some of the first ripples of those different points of view on what S.H.I.E.L.D. should be when it's rebuilt. I'm very, very curious to know which side Coulson will end up on in that struggle.
I think making a great action movie is one of the hardest cinematic endeavors. By definition, smart characters avoid action. Smart people don't go down dark alleys, but if you're making an action movie and you want to have an action sequence, somehow you have to get that character into that dangerous situation.
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.
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