Quotes About Cinema

'Play It Again Sam's opening shot is the same as 'Purple Rose's final one: a close-up of a face, rapt in a movie house. I've certainly felt that in my life. I've been known to cry watching Gene Kelly.

The second-grade films - where are they? No more are they made, and yet they were by far the best films for holding hands at, and wasn't this always the main purpose of the cinema?

When the protagonist breaks the fourth wall by looking at the camera in a movie, it's generally been used for comedic purposes, rather than feeling like they're looking into your soul.

I want to pursue a career in film.

I've always been a fan of Korean cinema but never really pursued it, as I wanted to pave my way here in the States. I figured, once I established myself here, Korea might take notice. And it did.

My plays are always pushing towards cinema anyway. They're down and dirty, real and more fun.

My one hope for Netflix and Amazon is to be a little more art house- and indie-friendly, pushing those just as hard as they push their originals.

When you are given an opportunity to make a film like 'Body of Lies' - and I would put 'Blood Diamond' in the same category - of course you jump at these opportunities.

We have been influenced by you in the U.S. a lot. Not because anybody exerted pressure on us - if anyone puts pressure on us, we go the other way. But if you put a movie in the cinema and I watch it, I will be influenced.

People ask me, 'Is 3D a good medium for horror movies?' I think it's the perfect thing for horror movies because it really puts you into it.

Old film-noir movies. There's something comforting about watching black-and-white movies, and hearing this kind of music just puts me in a fantasy world. It's a really great escape for me.

For me, I try as much as possible to just think about being in the movie theatre, having the lights dim, and what would I want to see on the screen. That puts me in the frame of mind that made me want to be in the movie business to begin with.

'Alemaari' is an experimental cinema of sorts. If audiences don't understand it, the film will fall flat.

Without the huge budgets, mainstream Bengali cinema falls flat on its face.

The walk between our house and the bus stop is marked by decay and wreckage. A row of shops, flats, community centres and an old cinema is boarded up, burned out, cracking and rotting.

I've been flattered by being called the Amitabh Bachchan of Bhojpuri cinema.

I like flawed characters very much. A lot of times I get asked to do parts that are kind of small but key - three-scene roles that are three kick-ass scenes. Growing up, watching as many movies as I did, I was always into character actors like that.

Commercial movies have to end with moral flags flown again and all that.

You don't ask if an aircraft is being flown by a man or a woman - if it flies, it means it's doing the job it is meant to. The same is with cinema, and all that matters is whether the film works or not.

Working on movies made me realize how fluid the medium of film was.

I've been watching things like 'Master of the Flying Guillotine' since I was 5.

It is a part of us, film-makers and audiences; what we can't say with dialogues, we say with a song. We tell stories through songs, look at our folk cultures.

Even in the big movies, if the scenes are very big, I'm not fond of them as much as I'm fond of small actor scenes.

In football you have an adversary; in cinema that adversary is yourself.