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.
I was utilized because I have a certain face that works well in cinema, and I'm used to making myself look as good as possible
The fact of the matter is fame predates even the age of cinema.
I never got in this business, in cinema, to make horror movies. They arrived on my doorstep and I got typecast. Which was fine, I enjoy it, but I got into this business to make westerns. And the kind of westerns I used to see, they died. So that didn't work out.
Magic in cinema is a bit like ventriloquism on the radio.
To be only spectacular should be 5 or 10 percent of cinema.
I am still associated with a heroic period in French cinema, and my name remains linked to this period.
The cinema is death at work.
Over the years, there has been an intermingling of film and aircraft. This relationship has generated all kinds of movies, including those filmed in San Diego.
I don't think Bollywood is only mindless cinema, but a lot of films they churn out are not films that I completely enjoy watching.
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.
Sometimes I get an idea for cinema. And when you get an idea that you fall in love with, this is a glorious day.
But rather that we should lose our sense that neither can become the other, that the traditional novel form continues to enlarge our experience in those very areas where the wide-angle lense and the Cinerama screen tend to narrow it.
Many years ago making movies was something. It was the major entertainment just to go to the cinema, once, twice a week. At the time, something like 400 million people went to the movies.
I initially studied literature [in France], and then I went to cinema school. I discovered the Cinematheque, and saw not only action movies and westerns, but also lots of serious movies.
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.
The landscape of cinema is not original. Not to say there aren't great movies being made, but it's much easier for studios to make movies that have built-in audiences. So it's all remakes, adaptations, a lot of remakes of adaptations.
American cinema is international like the fairy tales were international.
What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. I was in Italy, but completely in love with the nouvelle vague movement, and directors like Godard, Truffaut, Demy. 'The Dreamers' was a total homage to cinema and that love for it.
It's part of developing the whole state of how cinema is; everyone is looking out and engaged rather than it being just a financial thing or sitting back, waiting for scripts to turn up.
I love awards, especially if I get them. It's up to the courage of the filmmakers to make art in cinema, not just business. John was rejected by studios, he borrowed money and did movies with his own money. You're either courageous or not. You have to find a way.
Cinema can transform pain and trauma into something beautiful.
Why does there exist a global American entertainment industry, but there isn't an equivalent coming from France or Italy? This is the case simply because the English language opens the whole world to the American cinema.
I don't want all of American cinema to be big cartoons that are just made to be digested by the entire world.
What puzzles most of us are the things which have been left in the movies rather than the things which have been taken out.
