Quotes About Cinema

'Five Easy Pieces,' 'Easy Rider' - those are indie pictures; those were not studio pictures. They had relationships with studio distribution, but they were indies.

I love beautiful black-and-white movies - anything Bette Davis, especially 'Now', 'Voyager', 'Casablanca', 'Mildred Pierce'; anything by Orson Welles, Truffaut, or Godard; and 'Paper Moon' by Peter Bogdanovich.

For me, theatre and cinema are both pillars of an actor's life; I'd feel very half-baked if I was only doing one and not the other.

After the war, in which I served as a pilot in the Air Force, I took up films.

But we did the Pink Panther not in Hollywood, in Italy.

The first movie I ever saw in the cinema was Walt Disney's 'Pinocchio,' upon its 1984 re-release, which would have put me at three years old.

The bravery and pioneering of early Hollywood was absolutely incredible.

I was not into sci-fi, science fiction, at all. I was into some of the old pirate films with Burt Lancaster and stuff. I liked them.

I love pirates, and I'm a big fan of the Johnny Depp films.

'The Karate Teen' was great, where John Cena kicked me through four walls, or five walls. It was amazing how the film unit put that together. They literally strapped me to a chair and dragged me through five different set walls.

There's so many things I'm dying to do. I wanna do a movie with horses.

'Saw' is a particularly popular film with 14-30 year olds, so I'll be at a playground and meet six or 10 skateboarders who just wanna talk about 'Saw.'

Sometimes you just wanna go out, see your action movie, be done with it, come home. You know, and, like, you see 'The Matrix' or whatever, you see whatever film it is, and you're like, 'Oh cool,' whatever.

I was, like, 'I really wanna see an Eric Rohmer movie take place in a Bert I. Gordon universe.' Where there's a story going on that's about, you know, loss and desire, but with a giganticized-animal element.

I've said this a million times. But I've always wanted to do movies.

You gotta understand, when moving images first started, people wanted sound, color, big screen and depth.

I thought Mia Hansen-Love was a true auteur, and I always wanted to work with her. Mia's empathy for her characters and her ability to use the language of cinema to communicate real human depth is extraordinary. She's a humanist.

I can't even remember not wanting to go to film school.

I wanted to make a film - and I've been wanting to do this for 16 years - about life in care, and bring it to the public's attention, because I had never seen anything, on TV or in the cinema, which said: 'This is how it feels to be a kid in care'.

I have gone to many theaters where it is so unpleasant with the commercials before the movie, the volume, and the disrespect of the filmgoers. So I understand people not wanting to go to the theater.

When I started making movies, I was pretty young, and at the time I felt like there needed to be more confrontation in cinema - or I needed to make something more disruptive - so in the beginning, those movies were me wanting to play with the rules.

'Lawrence of Arabia' is a film that anyone wanting to become an actor should watch at least six hundred times.

What I would like to do is a thriller. I've been wanting to do that for a long time, but one that was not at all dependent on special effects. Just purely psychological, but will scare the hell out of you. That's what I would like to do. I have not found it yet.

Like everybody, I wanted to meet Andy Warhol. I was impressed by his work and how daring he was. I think he changed the cinema completely, simply by opening his camera and letting it go.