Quotes About Cinema

I like superhero films, and I love Star Wars movies, but I want to make sure there's a wide diaspora of films getting made.

You can make films in a lot of countries, but they don't have very wide releases.

I got hooked on immersive cinema when I worked on '2001,' which was initially shown on these Cinerama screens, which were all 90 feet wide and deeply curved.

Baahubali... ' has been accepted widely amongst Hindi cinema-goers. So this shows that language is becoming less important.

3D prefers you to use wider lenses because when things are out of focus, and yet it's in 3D, it bothers you.

Hindi films offer a wider reach. As an industry, it has the capability to merge varied states, languages, and nationalities.

I've learnt that there's absolutely no difference in Telugu and Hindi industries. Everything is almost identical. The only difference is that Hindi films have a wider release.

Some of the actors who came to cinema much later than me have tried their hand at direction. But, I don't intend to wield megaphone anytime soon, since it is tough and requires a lot of your time.

I am a crazy fan of movies like 'The Wild Bunch' or 'Wages of Fear,' where you're rooting for the bad guys.

Ten Days That Shook The World, by Eisenstein, I went to see it, and I was so impressed with this film, so impressed with what cinema could do.

I probably haven't even seen ten of the films I've done. I don't get a joy out of it, and I don't go to the movies.

When people think of biblical movies, they imagine sweeping epics like 'The Ten Commandments.' But 'The Gospel According to St. Matthew' is essentially a documentary about Jesus. It made me aware of how real life and personal experience can create more breathtaking, sensitive cinema than more sophisticated techniques.

Inside every TV star is a movie star screaming to get out, and Donna Frenzel, with whom I'm guessing you're not instantly familiar, made George Clooney a movie star once and for all in the first ten minutes of his fifth feature, 1998's 'Out of Sight.'

In films, we tend to come up with something new all the time. Challenges and experiments are new at every stage.

I'm always attracted to lower budget, not because it's lower budget, but because they tend to be better scripts.

National film industries tend to move in cycles. In Australia right now, we're on a high, a feeling of potential, which as yet shows no sign of flagging. But the word 'industry' is misleading. A small national cinema has no industry in the Hollywood sense.

One of the problems I have with a lot of movies these days is that everything is too well lit. In the world of digital creations there is a tendency to show too much.

American cinema tends to express a patriotic relationship to national identity on a regular basis.

I think it tends to be overused and can be a little bit gimmicky. A lot of people are using 3-D now because they feel have they have to... that will come and go and the pictures that deserve to be in 3-D will continue to be. When it's done bad, it can make you carsick.

The pop culture tends to go to the lowest denominator, so cinema is in a weird place, due to its mass nature. It's diluted down to very little: simple stories and simple politics.

The computer tends to equalize everything, all the movies are slowly blending together, the way they look.

When I discovered European filmmakers, it affected me so deeply. It redefined what cinema could be. I mean, 'Blow-Up' ends with a dead body and mimes playing tennis. What?

I'm happy to have a physical part in 'High Tension,' in 'Hereafter,' and in a lot of French movies and Belgian movies. But its not by chance directors choose me for physical parts. I like to do that. I like to tell a story also with the body. It's important, because you can tell a lot of things.

Alfred Hitchcock had to find ways to create tension without showing it, but now with computer-generated effects you can show anything.