Quotes About Cinema

When I saw Jurassic Park in the cinema something unexpected happened when the first dinosaur came on screen: I felt a huge, hopeful pressure in my chest and my eyes filled with tears. It was miraculous: a thing I'd seen representations of since I was a child had come alive.

I prefer ordinary girls - you know, college students, waitresses, that sort of thing. Most of the girls I go out with are just good friends. Just because I go out to the cinema with a girl, it doesn't mean we are dating.

USC has really developed my love for the cinema.

I went to USC and tried to learn about the other side of the camera a little bit.

I went to USC film school, briefly, which is a very traditional film school.

I studied film studies at USC.

I am not trying to say I'm a genius, but 'Underground' was the strongest attack there has been on Milosevic. It is about a man who locks his friends in a cellar for 40 years and convinces them that the war is still going on. He uses them, but they still think he is a great guy. And this was shown in every cinema in Serbia.

India uses Bollywood, rather cinema, to tell its stories. It is one of the largest filmmaking nations in the world and so your talents get to tell stories about politics, love and drama through films.

There are several forms of oppari, but cinema largely uses only one format.

If some independent artists are using film as a medium to reach out to an audience, it should be promoted. Cinema is a popular medium and has a broad reach. There have been films with ghazals, classical and folk songs sung by local artists, which gave them popularity.

It takes great skill to tell a compelling story in under 60 seconds. These five directors have mastered the format, using their talent, craft and imagination to provide us with some of the most innovative filmmaking out there today.

The first one I did was an action film with Sammo Hung and George Lam, but I had the usual female role for that time: you know, damsel in distress, rescued by the hero.

Realistic non-commercial films offer you a lot more liberty as a director than a usual film.

I make notes about things I see in films that really affect me, like the ending of 'Jules and Jim.' I think about how I can utilize things in my work. And I have a team of people who keep me down to earth.

I wanted to make a film about my dad, a sort of love letter, and explain what I understood of his cinema, which was so utopian. I also wanted to give the sense of his cinema, because they have never been very big box-office, but they were very influential.

I think there's a vague sense out there that movies are becoming more and more unreal. I know I've felt it.

What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. I was in Italy, but completely in love with the nouvelle vague movement, and directors like Godard, Truffaut, Demy. 'The Dreamers' was a total homage to cinema and that love for it.

I think that cinema is medium of communication. It's as valid as novels or fine art.

For me, there is nothing more valuable than how people feel in a movie theater about a movie.

Films don't always tell a story; some films can achieve effect just by being razzle-dazzle or rock n' roll. That's part of the fare that's out there. And that's okay. For me, I place more value on a story.

Today cinema can place all its talent, all its technology in the service of reanimating what it itself contributed to liquidating. It only resurrects ghosts, and it itself is lost therein.

Le cinéma, c'est l'écriture moderne dont l'encre est la lumière.

Bresson est à part dans ce métier terrible. Il s'exprime cinématographiquement comme un poète par la plume. Vaste est l'obstacle entre sa noblesse, son silence, son sérieux, ses rêves et tout un monde où ils passent pour de l'hésitation et de la manie.

I've always wanted to work with Warren Beatty.