Cinema Quotes - Page 7

I still love the layers of cinema whether it's 35mm or 16mm or 8mm, super 8 which I love. I love the grain. If I had my druthers I'd film everything in kodachrome.

Very few cinematographers, other than the Europeans, know how to light women like they used to in the old days.

For me and my films I want my audience to experience cinema in its full glory. It's not just visual, it's audio as well. It's emotional and I want you to be engaged with not just the scene but with the characters.

For any movement to emerge, it has to be innovatively independent from the mainstream cinema, and I don't see that much.

During the war, I saw many films that made me fall in love with the cinema.

I don't like differentiating between art and commercial cinema.

Unfortunately, my ideas are not what you'd call commercial, and money really drives the boat these days. So I don't know what my future is. I don't have a clue what I'm going to be able to do in the world of cinema.

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

But at heart, I am more than a cinematographer.

I know why I make films -cinema is a mode of expression that allows you to express all the nuances of a thing while including its opposites. These are things that can't be quantified mentally; yet they can exist and be juxtaposed. That may seem very contradictory. Cinema allows you to film these contradictions.

I've always been drawn to a certain kind of dark aesthetic in cinema and in film, to what's abjected or considered abject. I've been tremendously influenced by noirish cinema whether that's Von Sternberg or Scorsese in the 70s or Lynch, etc.

Cinema is so slow and boring compared to television.

All the people I've met, many outside of cinema, knew everything perfectly about one thing or one subject or one area.

I like it when somebody tells me a story, and I actually really feel that that's becoming like a lost art in American cinema.

I grew up watching movies that just transformed my vision, not just in cinema, in life, and you discover that this - it's an endless tool.

Cinema is always a political art, at the end.

The Oriental approach to violence is a much more aesthetic and poetic approach, whereas in the western world, violence is put in because you can't solve the problem. Violence is always the last solution, but unfortunately, in cinema, it's the first solution, because it's easy. And it's often too easy.

So what'll happen is there'll be some very good cinema experiences are going to see 3D where you have to pay more. And there'll be some bad experiences of going to see movies in 3D. And I just hope that this kind of gold rush mentality doesn't kill what could actually be something that really, really benefits the industry.

After you've learned two or three basic rules of cinema grammar, you can do what you like - including breaking those rules.

There's still a 1950s view of cinema, that there's one audience and they all want to see the same thing.

When making a film, I'm never concerned about whether the theme is new or whether it's been done before in cinema or not. I'm led to make films if there's a theme that interests me or I experience something in my own life that confronts me with something that I want to deal with.

Modern American cinema seems to me superficial. The intention is to understand a certain reality, and the result is nothing but a photographing of that reality.

There's a fashion, or maybe you could call it a necessity, in French cinema to make social films, which is to say films in which the characters are defined by their social context.

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

The British cinema had been very dull and conformist.