Quotes About Cinema

Working on such a big film was amazing. I learned a lot. There weren't too many stunts, just some doubling.

Así como nadie le enseñaría un día a morir: seguramente un día moriría como si antes se hubiese estudiado de memoria la representación del papel de una estrella. Pues en la hora de la muerte las personas se vuelven brillantes estrellas de cine, es el instante de gloria de cada uno y es como cuando en el canto coral se oyen agudos silbantes.

Peckinpah gives the final shoot-out in which they all die a kind of orgasmic rush that releases all of us from the cinematic or, more accurately, the American fantasy that we will survive no matter what.

I want to be in movies that stand the test of time.

Obviously, I'm attracted to heavier movies.

Contar una película es como contar un sueño. Contar una vida es como contar un sueño o una película.

had to run out of a cinema because the smell of the woman's perfume sitting next to me (Opium) combined with her popcorn made me retch.

I manage to hide in my movies.

You know, when I first went into the movies Lionel Barrymore played my grandfather. Later he played my father and finally he played my husband. If he had lived I'm sure I would have played his mother. That's the way it is in Hollywood. The men get younger and the women get older.

When I was a kid, I thought movie stars were women and men who were in these great films that we still look at now. But I don't think there are too many films coming out these days that we're going to look at in the future and say, 'This is one of the great ones.'

At some point in my life, I wanted to be in a vampire movie.

Telugu cinema can really spoil you. They treat you like a queen. As soon as you get down from your van, they will all stand up, and they won't sit till you have passed by. I love that attention and miss that.

I think Van Sant is the most important American director we have. He takes the most risks. He's just pure to me.

Films have gotten leaner and leaner, cutting out all variations from the story line.

Indian films are like our food or our sense of dress or our languages: there's a great variety, and it changes every 100 miles, but there is something in common, a national Indian essence, that binds them all together.

Most of my pictures both in this country and abroad have been of the 'horror' variety.

All of my heroes, like Dali, are people who pioneered various forms of cinema.

Manga, as a medium, is very different from cinema. Its creators are free to express themselves with harsh, cruel stories, and they enjoy vast distribution throughout Japan.

The scene of independent cinema is already a large scene in America, and not in a negative way, but it's cluttered. It's very populated with just American films, so the room left for foreign movies is not extremely vast. The American public also does not really read. They don't read subtitles. But we're like that in Canada, too.

I love 'What Happens in Vegas,' 'You've Got Mail.'

Las Vegas, New Mexico has had a lot of great movies shot there.

The Joker is a tremendous vehicle for talented actors. Cesar Romero's was a bubbly, lunatic criminal. Nicholson did him as a vain, preening manipulator. Heath's performance of the Joker was remarkable, too. His was a low-simmering crazy street clown. Joker can be played all these ways, and they're all true.

A film is not a vehicle to accuse, or to relay a specific message. If we reduce a film to this, we lose all hope for cinema to ignite a richer conversation.

As I get older, I'm looking more and more for films that are actually about something rather than just narrative vehicles.