I still would like you to feel the enthusiasm that all those people felt in the twenties and thirties, that indeed we had discovered, with cinema, the great 20th-century, all-embracing medium.
There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.
I acknowledge Mike Leigh and Ken Loach. They are prostlytizers of English socialism preaching to the converted and telling us what we already know. Cinema is best served away from documentary neo-realism. I come from a tradition of post-post-Italian neo-realism in England, where we've produced the best television in the world. But to paraphrase Truffaut, the English have no visual imagination.
Cinema has reached a dead end.
Cinema is not a playground for Sharon Stone.
I do feel for me that cinema has somehow ceased to be a spectator sport. I get tremendous excitement out of making it rather than watching it.
I don't think we've seen any cinema yet. I think we've seen 100 years of illustrated text.
For so many filmmakers, cinema is a means to an end.
There are those who think that Zeffirelli's Hamlet is the way to treat Shakespeare. I think that cinema can handle much more. We somehow expect cinema to provide us with meaning, to console us. But that's not the purpose of art.
I have this theory that if you do a film, those who have not fallen asleep or left the cinema, they will live with the film much longer, and it will really enter their imagination and the subconscious much more profoundly.
I really believe in 3-D. I really think it is the wave of the future for cinema.
When people see what real 3D looks like, they'll go, "Oh, that's why I spend an extra $5 a cinema ticket. That's worth it!"
The cinema was certainly an art, but television can't be, because it is the museum of accidents. In other words, its art is to be the site where all accidents happen. But that's its only art.
Certain subjects may no longer be taboo in cinema. But there are ways to treat them that still create shock.
I'm a storyteller who uses all of the beauty and power of cinema to tell tales of human struggles for positive social change.
Cinema affects everything, from the way I get dressed to how I build my stages.
My fascination is not for cinema; it's for human nature and human beings because I find it quite difficult being one at times.
In the theater there are 1,500 cameras rolling at the same time - in the cinema, only one.
Cinema as a means of expression fascinates me.
It is my first preference to do films with social significance. Art cinema has given me credibility and status as an actor, but commercial cinema has given me a comfortable living.
Parallel cinema has not made an effort to communicate in a language the other person understands.
I prefer working in good cinema, wherever it is. I like subjects that have a universal appeal.
I'm not a fan of action movies. I don't watch many action movies, I don't have a lot of references except for 70s action movies or cinema noir.
I always had this huge respect for American filmmakers and American actors. I always had this very strong love and respect for the American cinema. I always knew that I was going to leave Sweden.
I think most people, no matter their status now, have big screen TVs, because they're the standard TVs now. And so why would you go to the cinema?
