Quotes About Cinema

I was a film major with a concentration in animation.

I feel D-Town makers are coming up with interesting concepts.

The British cinema had been very dull and conformist.

There is no good or bad cinema, there are films that connect either less or more with audience.

There were many films made for both cinema and television, and in general I don't connect them very much with our books. I have one favorite: 'The Man on the Roof' by director Bo Widerberg, which was based on 'The Abominable Man.'

It's not in every film that you connect to the role.

But I think that the spirit of protectionism would be the grave of European cinema. You cannot protect something by building a fence around it and thinking that this will help it survive.

I think that the romantic suspense that you used to get between people like Ingrid Bergman and Cary Grant is much sexier than seeing people taking their clothes off and getting into bed, which is voyeurism.

Good films will run, and people will watch it irrespective of whether it is suspense or a comedy.

The stage is suspension of disbelief. Film is a literal medium.

Cinema, which demands suspension of disbelief, is an increasingly naive proposition.

Cinema sustains life. It captures death in its progress.

3-D is a truly exciting possibility. Whether that's going to be something that sustains our interest, I'm not certain, but I think it will.

It's okay to do a small role in mainstream cinema like 'Aurangzeb' or 'Yaariyan.' But it's films like Rituparno Ghosh's 'Memories Of March' and Avinash Kumar Singh's 'Listen Amaya' that sustain me as an actress.

The very first film I ever saw was a pirate movie called 'The Black Swan' with Tyrone Power. And I thought that was great stuff. Of course, in those days, Technicolor was really Technicolor; there was no such thing as desaturation. Everybody looked super suntanned.

I dread to be compared to all these directors who have a lot of spontaneous emoting and swearing in their films - that is death; it's a cul-de-sac. It doesn't lift the material at all. It's just a cliched reproduction of what we think is normal behaviour.

In Sweden, only exceptional actresses get major film parts.

People who would go to an arthouse cinema and watch a Swedish movie and read subtitles... it's a small percentage.

I think my sweet spot is to make personal films on not-too-big budgets and also make other people's films, bringing productions to Iceland, upping the business here.

Hard to say an absolute favorite, but some of my favorites are: 'Ryan's Daughter,' 'One Flew Over the Cuckoo's Nest,' 'The Piano,' Lina Wertmuller's 'Swept Away,' 'Blade Runner.'

When you walk into the cinema you have to switch your phones off, you get involved with the big screen, you cry with the film, you laugh with the film. It actually drives the message home far stronger than when you quickly see it on your phone.

What switched me to films was the flood of American pictures into Paris after the Liberation.

I've been to several international film festivals, including those in Locarno, Switzerland; Dubai; Russia; Berlin; Cannes; Bangkok; and Hong Kong.

Sex appeal is a good thing for commercial cinema. Though I can't sit at home and consider myself a sex symbol, it is for people to do so. I want to be known as an interesting actor.