Quotes About Celluloid

This is a career about images. It's celluloid; they last for ever. I'm a black woman from America. My people were slaves in America, and even though we're free on paper and in law, I'm not going to allow you to enslave me on film, in celluloid, for all to see.

Ecstasy is not really part of the scene we can do on celluloid.

As vocal as some people have been about how emotionally attached they've been to celluloid, I've been equally emotional in my stance that nothing is more valuable than this. Than being able to see the result of your work quickly.

I'm an advocate of all mediums - it's a larger canvas for us as artists - but we have to keep in mind that celluloid film is what created this wonderful art form, and we have to keep it alive.

But show business has always been like that - any kind of show business. If these people didn't live intense and rather disordered lives, if their emotions didn't ride them too hard—well, they wouldn't be able to catch those emotions in flight and imprint them on a few feet of celluloid or project them across the footlights.

A lot of people get very misty-eyed about celluloid. When I think of the time that's wasted in sending it back to the lab and having it developed and brought back, it would make me insane. I love getting my hands on the stuff immediately. That doesn't work for everybody. It just works for me.

The cinema began with a passionate, physical relationship between celluloid and the artists and craftsmen and technicians who handled it, manipulated it, and came to know it the way a lover comes to know every inch of the body of the beloved. No matter where the cinema goes, we cannot afford to lose sight of its beginnings.

Acting is fantastic, but to be able to create a whole world on celluloid is amazing. It's like taking your dreams straight from your head and projecting them onto a screen.

film contains over two miles of celluloid so is quite heavy, properly so since it contains the labor of hundreds of people over many months to produce your two hour vacation.

I'd like to own a movie camera - a proper one, with film, not a digital thing. Celluloid has more character.

They dance between their arclamps and our skull,Impose their shots, throwing the nights away.We watch the show of shadows kiss or kill,Flavoured of celluloid give love the lie.

I like celluloid, I like film, I like the way that when a movie is projected it sort of breathes a little in the gate. That's the magic of it to me.

I prefer theater, but I love to do films, and I prefer theater primarily because I've done more. I know less about movies. You can't lie in either medium. The wonderful thing is that the camera, just like an audience, is made out of skin - because celluloid is skin.

Those crazy physicists that spend all day cooking themselves under an atomic reactor and all night writing stories for Weird World have done it. Spoiled my day completely. One of those idiots has hung the world up like a celluloid ball in an airstream.

Remember, science fiction's always been the kind of first level alert to think about things to come. It's easier for an audience to take warnings from sci-fi without feeling that we're preaching to them. Every science fiction movie I have ever seen, any one that's worth its weight in celluloid, warns us about things that ultimately come true.

I'm sad to see celluloid go, there's no doubt. But, you know, nitrate went, by the way, in 1971. If you ever saw a nitrate print of a silent film and then saw an acetate print, you'd see a big difference, but nobody remembers anymore. The acetate print is what we have. Maybe. Now it's digital.

Esos desechos de celuloide, esos sobrantes en la película del recuerdo de mi vida son los que hoy intento proyectar en la pantalla de la memoria, los que hoy me parecen, aun en su confusión, tan vívidos y tan cercanos.

There was a time when the industry would typecast actors. It still continues to an extent on the celluloid but with the digital medium coming to the fore, the actors are finding equal status with the stars.

That's what movies are, right? Thousands of still pictures taken months or years or decades before—streams of images burned onto celluloid that are reeled in front of a lamp and projected onto a screen, allowing us the illusion that they're alive. Flickers of light and dark. Brightness and shadow that won't stand still—like life itself.

No director can ever deliver what's on his or her mind totally, but 'Baahubali-2' is the closest I can get in executing what I had envisaged onto the celluloid.

How strange. The power of the spirit over the permanence of celluloid. A fantasy, fixed in time yet fleeting. The spirit. He pauses & nods perceptibly. The Spirit is the Reader. What the reader constructs is the Other, & the Other is contained in his flight, the definition of the Other is flight. To fix the Other is to lose him, to let him flee & grow is to keep him.

Digital is great; I see the benefits and beauty in both formats. But it doesn't give you that organic quality that celluloid brings.

The tantrums of cloth-headed celluloid idols are deemed fit for grown-up conversation, while silence settles over such a truly important matter as food.

Writers' bodies don't make sense in a place like Hollywood: soft and white, defenseless in a town where everyone's defended, right up to their celluloid tits.