Some of it was shot in Berlin, but a lot of it was filmed in Hamburg, along the Reeperbahn in Hamburg in the famous red light district. Kino is obviously German and "film" and "cinema" and we were always cinematic in our thinking.
Jean-Luc Godard said that cinema is the truth 24 frames a second. I think cinema is lies 24 frames a second.
If people go to IMDB, they will see that I'm very comfortable with independent cinema, and doing studio films too. For me this is not an either/or situation.
When I was ten, I had a weird cinema party where I invited everybody from my street to come. I pretended I was an usher and tried to sell them all popcorn.
["Aquarius"] it had a bit of a rocky arrival in cinemas because we were given the 18+ rating, which did not make any sense in terms of the Brazilian rating system for a film like this.
There was also the myth of the western films. But my films are borrowed not from the story of the West in America but from the story of cinema.
I've always believed that true cinema is cinema of the imagination.
I wanted to make a film - and I've been wanting to do this for 16 years - about life in care, and bring it to the public's attention, because I had never seen anything, on TV or in the cinema, which said: 'This is how it feels to be a kid in care'.
I have been a film buff all my life and believe that the finest cinema is fully the equal of the best novels.
Certainly, the Hollywood cinema, there's almost nothing of interest coming out of there.
I would argue that something dark is lurking between the sexes, and that it is seeping out into cinema.
I didn't have a lot of exposure to films as a kid, and I never went to the cinema. I had a single mom who just planted me in front of the television.
There was a period of cinema, in the mid-90's, that I was a huge fan of, with Heat and Seven, and the Tarantino era. If I've ever been fanatical, it was about those films.
From where I sit I see the digital cinema creating sloppiness on the part of filmmakers because they know if they really get in trouble they can fix it later. So they don't pay that much attention, and of course it costs a lot of money.
That's the thing with independent cinema: They all get good reviews, and they don't make money. Some of them are good. Some are great. And some are terrible.
I am sure that the two main forms of English, American English and British English, separated geographically from the beginning and severed politically since 1776, are continuing to move apart, and that existing elements of linguistic dissimilarity between them will intensify as time goes on, notwithstanding the power of the cinema, TV, Time Magazine, and other two-way gluing and fuelling devices.
But then when you go through the process of making the film and you sit in the cinema two years later and your jaw hits the floor, it's quite sad in a way because you're looking at yourself - facially anyway - and see the way you looked when you were 20.
Why would anything change that has not been changed since the existence of cinema? [James] Baldwin somehow wakes you up to reality. It takes you out of the dream - or out of the nightmare.
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.
I love these kind of movies as a kind of cinema-going geek myself. Those characters, you want to be like those characters when you go to the movies. You know, when you see a movie with a guy who's really cool and the killing's slick and easy. I don't know. There's something intoxicating about it.
The American independent cinema is as formulaic as Hollywood and one genre is what you might call the 'inaction movie'. The setting is invariably a decaying town in a regional backwater where a catalytic stranger or returning native meets up with a group of sad, eccentric outsiders.
Everybody else, they're wonderful, but [Robert] Duvall sets the tone for all of cinema acting. So just to be in his space was amazing.
Cinema basically examines a personality first and the body afterward.
It seems to me that dominant cinema seems to require an empathy or a sympathy between the film and the audience which is basically to do with the manipulation of the emotions and it seems to me again -- and this is a very subjective position -- that most cinema seems to trivialise the emotions, sentimentalising or romanticising them.
I don't have any particular wish to be polemical or didactic; I don't have a 'message', but what I do thoroughly enjoy are those works of art, not necessarily in the cinema, but in the other arts as well, which have an encyclopaedic world.
