Cinema Quotations | Page 2

If you say one gets influenced watching a character, I think its foolish. Cinema reflects society; society rarely reflects cinema.

Growing up in Hollywood, like I did, I have a passion and a love for the movies, so I go to the cinema all the time.

I really have problems with horror movies. I don't watch them. It's a feeling I don't want to have in cinema. I'm too reactive. It's too draining to watch that kind of movie.

The thing is, making movies as an actress, you learn so many things. Like when you're making a movie with Quentin Tarantino you're just at the best cinema school ever.

'Close Encounters of the Third Kind.' Big, big, big smash for me. My birth of the love of cinema was born with 'Close Encounters' and '2001.' Those sci-fi movies I saw when I was a little kid.

Every viewer is going to get a different thing. That's the thing about painting, photography, cinema.

I pity the French Cinema because it has no money. I pity the American Cinema because it has no ideas.

If I want to, I can sign 20 films for ridiculous amounts of money, but I really want to do different kinds of cinema. I want creative satisfaction.

There's a difference between watching a film and watching a bit of cinema and enjoying a film as a piece of cinema.

I prefer working in good cinema, wherever it is. I like subjects that have a universal appeal.

I'm all for typewriters, with instant carbon copies, and seeing films in cinemas.

I'm under the impression that this notion of decency is disappearing from our society where conflicts are made worse on cinema and on television, where people are nasty and cruel on the Internet and where, in general, everybody seems to be very angry.

I've spent days in cinemas answering questions from the audience, in interviews, travelling abroad, and all they do is thank me nicely.

Cinema has become a global economy, totally international.

Everybody has something that chews them up and, for me, that thing was always loneliness. The cinema has the power to make you not feel lonely, even when you are.

Independent cinema is more thoughtful, delicate. While Western blockbusters can have their own kind of delicateness, it's not delicate enough. You have to be ready to compromise to enter that field. I will do so only if it's worth it.

There is more to Indian cinema than just Bollywood. I think regional cinema, especially Tamil and Marathi cinema, are exploring some really bold themes.

I didn't go to the cinemas a lot as a kid.

I really love sort of classical cinema where people were telling stories with very little dialogue, and people were using the camera in a really interesting way.

I've played the wicked mothers; I've played the serial-killer-type mothers now. They have to have an edge on them. They can't just be everyday moms, because I never thought of myself as an everyday person in cinema - I'm an everyday person in real life, like anyone. But not in what I project out there. I want something more exciting.

I like cinema. I am very fond of it. But from time to time I feel like having some time on my own.

I feel that cinema is my country. But it's not my business.

You see thousands of films you forget the minute you come out of the cinema, don't you? Because they don't mean anything. It's the tough ones like 'Breaking the Waves' and 'Nil By Mouth' that stay with you, that you never forget. I'd like to leave a few of those behind if possible.

My fascination is not for cinema; it's for human nature and human beings because I find it quite difficult being one at times.

I'm a huge fan of world cinema, because each country uses cinema in a very individual way.

Cinema is so slow and boring compared to television.

On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.

I definitely felt that I was put at a very high place to be able to be a part of such a wonderful franchise in cinema history, so I was definitely very driven at doing a great job and having my body look the way it should and just being a part of the creative process.

Cinema is a director's medium, so you're saying, 'What do you want?' Being an actor is about adapting - physically and emotionally. If that means you have to look great for it and they can make you look great, then thank you. And if you have to have everything washed away, then I'm willing to do that too.

I don't believe in the deplorable notion of realism in the cinema: you can over-reach it, and it becomes as false as convention.

One of the things I love about cinema is the range.

I was born at a bad time for Spain, but a really good one for cinema.

I can't remember what the last film I saw was, as I can't smoke or drink in cinemas.

I am going to produce a movie of my own. I am not going to stick to the time-tested formulae of Hindi cinema. I want to make a film for the present generation. So there will be a lot of new faces in the film.

In cinema, the leading player is the director.

Cinema is visually powerful, it is a complete experience, reaches a different audience. It's something I really like. I like movies.

For a long time I have compared cinema to music, I think cinema has a lot to do with the rhythm of music

When I was 16, I discovered this island called cinema and I thought: 'Oh, how wonderful; I'm ready.'

Very broadly, literature concerns itself with the internal, cinema with the external.

Cinema in India is like brushing your teeth in the morning. You can't escape it.

Cinema Paradiso' is a fantastic film, I love that.

I care about cinema even though I haven't made many films.

French cinema audiences usually don't express anything. Certainly not satisfaction.

Written and directed by French showman Georges Melies, 'Le Voyage' features one of the most indelible images in cinema history: the wounded Man in the Moon bleeding like a particularly runny Brie, grimacing in pain with a space capsule protruding from his right eye.

Cinema sustains life. It captures death in its progress.

I've always had an innate ability to dance, but I'm not as spiffy as those cinema legends like Gene Kelly and Fred Astaire.

I loved cinema while growing up and, for the longest time, wanted to be a director.

I've been in love with the cinema since childhood and it's a fantasy of mine to appear in a Hollywood movie.

It is also difficult to articulate the subtleties in cinema, because there aren't words or metaphors which describe many of the emotions you are attempting to evoke.

Work in the theater sharpened my verse and my cinema.

Cinema is a territory. It exists outside of movies. It's a place I live in. It's a way of seeing things, of experiencing life. But making films, that's supposed to be a profession.

I like cinema audiences. I respect them, and I talk to them just like I would anybody I know.

I'm in the early stages of a film called 'Freezing Time' about Eadweard Muybridge, the Victorian photographer who was really the forefather of cinema. Digital animators still treat his images like the Bible. He was a very obsessed man.

Most of the cricketers are doing side businesses apart from playing the sport, so why should I be left behind. I feel there is a lot of money in making films, and since Punjabi cinema is doing good, this is a lucrative option for me.

To me, cinema is not a movie or a TV screen, and it's not a seat in a building versus one in your living room. It's the art of motion pictures.

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

I am not ready to fit into the mould of commercial cinema.

If cinema is a woman then certainly there are many shores.

'The Lunchbox' is the kind of cinema that is true to its word and not cluttered or corrupted by some of the mainstream pre-requisites. I love the way I make movies, but there are certain stories that need to be told in a certain way, and 'The Lunchbox' is that movie, and I'm so proud to present this movie.

It was only in the early 1990s - during my student years as an aspiring scientist at Delhi University - that I discovered the world of cinema.

Conventional Indian cinema is about people falling in love. They sing, they dance.

Music is the only passion I shamelessly indulge in. However, for recreation I enjoy watching movies. 'Wizard of Oz' was the first film I ever saw, followed by the 'Bond' movies. I also watch a lot of World cinema through DVDs mostly brought by one of my best friends who's now based in Toronto.

I kind of worry about that a little bit - we lost our film culture for 30 years because the Americans came in and bought up all the cinema chains and wouldn't show any Australian films.

The notion of directing a film is the invention of critics - the whole eloquence of cinema is achieved in the editing room.

I tell my children to avoid theatre and go into cinema and TV.

Hollywood is a town; it's not a medium. And cinema is a medium you can practice anywhere.

It was Vikram Bhatt and 'Raaz' that got me interested in the medium of cinema. Before that, I was like any other youngster dabbling with various things - modelling, films - without a definite direction or focus. Now that I'm working with all of them, life has come full circle for me.

It is an entirely selfish decision to turn producer because I want my kind of cinema to last and flourish, and helping young filmmakers make those kind of films is the best way to do it.

Everything encourages you not to tell stories of gay lives. There is no economy yet for that kind of cinema.

I still haven't played a leading role in cinema or in TV, and that's something that I long for.

The cinema began with a passionate, physical relationship between celluloid and the artists and craftsmen and technicians who handled it, manipulated it, and came to know it the way a lover comes to know every inch of the body of the beloved. No matter where the cinema goes, we cannot afford to lose sight of its beginnings.

The language of prose is very different than the language of cinema, so the movie has to successfully translate what was in the book.

Cinema isn't just a good medium for translating graphic novels. It's specifically a good medium for superheroes. On a fundamental, emotional level, superheroes, whether in print or on film, serve the same function for their audience as Golden Age movie stars did for theirs: they create glamour.

It took a while for me to grasp that my colleagues believe I have made an impact on the history of cinema.

All my life, I have loved and been inspired by French cinema, and as a studio head it has been my pride and joy to have the ability to bring movies to audiences around the world.

Anyone who's made film and knows about the cinema has a lifelong love affair with the experience. You never stop learning about film.

I work for the public, for the people who are paying to go to the cinema, rather than for the critics.

Opera was the cinema of its time, so to bring back that popular appeal, you just need to unleash its visceral immediacy and excitement. Most productions don't manage that - but when an opera does do it, you never forget it.

Hollywood films have become a cesspool of formula and it's up to us to try to change it... I feel like a preacher! But it's really true. I feel personally responsible for the future of American cinema. Me personally.

I didn't have a normal academic career. I never studied cinema. I learned from life.

The cinema has done more for my spiritual life than the church. My ideas of fame, success and beauty all originate from the big screen. Whereas Christian religion is retreating everywhere and losing more and more influence; film has filled the vacuum and supports us with myths and action-controlling images.

I think the cinema you like has more to do with silence, and the theater you like has more to do with language.

I like to stay at home and make cinema in my head.

Hong Kong cinema is something you can't duplicate anyway.

At a very young age I was allowed to go into the cinema and watch adult films.

I think starting a cinema career late in life has more advantages than disadvantages.

Cinema is a medium that can translate ideas.

Without a doubt, I was born to want to make cinema, but the kind of cinema I want to make is not like commercial movies, which I enjoy myself, but I wanted to be the kind of filmmaker who wrote original work, sort of like a novelist would who deals with who we are and our times or our relationships.

I love going to the cinema. Whenever I get time off, that's where I go.

As a matter of fact, I find the Western cinema very fantastic.

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

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?

Sometimes I get an idea for cinema. And when you get an idea that you fall in love with, this is a glorious day.

It's shocking to say, but the cinema is quite a while away from me, and I haven't got a car yet.

Our cinema has evolved in last 60 years because we have made people happy through our films. The main purpose of our storyline is to spread happiness. Our cinema has an emotional connect.

From a dramatic viewpoint, there are few professions that grant their members entry into other lives, high among them cops, doctors, clergymen, journalists and prostitutes. Perhaps that explains why they figure in so much television and cinema. Their lives are lived in the midst of human drama.

The cinema is really built for the big screen and big sound, so that a person can go into another world and have an experience.

I've always acted; in fact, I can't remember a time when I was not. When I was little, cinema was a game, then my father's job and now mine.

In Majorca, I can be myself. I go to the supermarket and the cinema, and I am just Rafa. Everyone knows me, and it is no big deal. I can go all day - no photographs.

You can lose in cinema too if you don't put on a good performance.