Quotes About Cinema

Well, once I did 'Grease,' everyone was offering me studio pictures in a similar vein - you know, popcorn movie.

It's a standard staple in Japanese cinema to cut somebody's arm off and have red water hoses for veins, spraying blood everywhere.

I loved 'Blue Velvet.'

Films like 'Velvet Goldmine' are an accumulation of research and references. I create an almost random resource of connections and am constantly distilling that into narrative specifics.

Jean-Luc didn't like me to say any bad words in real life, and I would always do it on purpose, just for fun. And he would go crazy! Then he had Brigitte Bardot do just that in 'Contempt.' And in that film she also has this line - 'I want red velvet curtains, or nothing at all in the apartment' - which was something I would always say.

I have an Italian comedy at the Venice Film Festival.

A lot of people ask me, if I aspire to do films in Hollywood. If I get a chance, I would love to. But I feel that I owe it to my upbringing and the cinema I grew up on, to achieve something first in our film industry, and then venture out.

Cinema is not about format, and it's not about venue. Cinema is an approach. Cinema is a state of mind on the part of the filmmaker. I've seen commercials that have cinema in them, and I've seen Oscar-winning movies that don't. I'm fine with this.

I guess maybe I try to make movies that are closer to real life than are many Hollywood movies. But I still try to stay within a commercial narrative, a contemporary American vernacular.

That's what I like about film-it can be bizarre, classic, normal, romantic. Cinema is to me the most versatile thing.

I want to be a versatile actor and do different kinds of roles.

A lot of kids only know 'E.T.' from the digitally-enhanced version.

I believe that one of the secret engines that allows cinema to work, and have the marvelous power over us that it does, is the fact that for thousands of years we have spent eight hours every night in a 'cinematic' dream-state, and so are familiar with this version of reality.

In Bengali films, I played my version of glamorous, where I played a wide-ranging characters.

Richard Chamberlain on The Slipper and the Rose was lovely to work with. He wore the clothes so beautifully and sang his songs so well.

I'm sticking my tongue out in scenes to try to make that work in 3D. I'm thinking I'll try to get my tongue all the way out to the second row of the audience.

I want to work with Johnny Depp.

Certain comedians work with certain actors; like Adam Sandler worked with Jack Nicholson.

I feel like movies when they work they'll find an audience.

I knew I wanted to work in Cinemascope because I find it much more beautiful just in terms of the shape of the screen, the wider image, and it's also less like television, which is important.

A film that is a true work of art transcends theatre and heartwarmingly changes lives.

My opinion is that you cannot really blame cinema for the result of what is somebody's mindset. I think it's just entertainment. For me, I've always believed in doing things that I can sit and watch with my family. So far I think I've stuck to that, and I will also in the future.

I've played all kinds of historical characters, but they are stuck in movies that aren't their movies.

I realized what interested me as a student of film was one thing and the movies that I liked were another.