I'd rather spend my time with grape growers than actors. In the film industry, all the money is focused on television and the stupidity of American cinema.
I'm always trying to make something that is impossible to film. Why would somebody just read a novel when they can see it on TV or in the cinema? I really have to think of the things fiction can do that film can't and play to the strengths of the novel. With a novel, you can get right inside somebody's head.
'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.
Television is a good training ground for aspiring stars. You can experiment and get away, imbibing the positive and viable aspects. Whereas, in cinema, the stakes are high. If something goes wrong, the film falls flat.
I took my time to learn the craft and procedure. I wanted to do some substantial work first in cinema.
I realised that you could easily turn any room into a cinema with a projector, so I went on and on at my parents for one. They eventually got me a projector for Christmas when I was ten, and I realised I'd made a ridiculous mistake - I'd forgotten to say 'movie' projector; I got a still one.
The second-grade films - where are they? No more are they made, and yet they were by far the best films for holding hands at, and wasn't this always the main purpose of the cinema?
I was in jail four and a half years. When I came out, I continued the same struggle against injustice, but instead of using weapons, I began to use art and cinema.
In the evening, we either go to the cinema or stay in and get a takeaway - my favourites are Chinese or Indian.
Movies began as a communal experience. Even though we now watch them as DVD's, sometimes alone on our computers, mostly in the history of cinema it has been a communal experience.
The first 'Star Wars' film was enormously important. I grew up right smack-bang in the sweet spot of all of those. It's true cinema magic. It's fair to say that, as a kid, I would have been very happy to be Han Solo, and I would have been happy to have gone out with Princess Leia.
My work is better, maybe all filmmakers are better, for Polanski's imprint on cinema. He created language for all of us to use, there is no question about that.
Because I was a kid from north of England, the only films I had access to was not alternative cinema, which in those days would be foreign cinema; I would be looking at all the Hollywood movies that arrived at my High Street.
When classical singers or dancers look at cinema with derision, I have half a heart to tell them that they're wrong. They're losing a platform.
Why did they go to Hollywood? Because they could get access to the American financial sector. The Jews were neither authorized to be bankers or doctors nor lawyers or professors. That's why they concentrated on something new: cinema.
'Menace II Society' itself was a groundbreaking film. It's definitely going to go in the vaults of classics in all of cinema. The Hughes Brothers created an incredible project. Just gave the world something a little different than what we had seen in previous films in that same genre.
I am not someone who sacrifice all for the cinema, my life will be always more important.
'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.
I love going to the cinema. Whenever I get time off, that's where I go.
I'm not interested in gothic storytelling or the horrific for its own sake. I'm always interested in it as a way of getting at larger ideas or important meaning. And you don't see that as much as you'd think in the history of horror cinema. A lot of times, it's scariness for scariness' own sake.
DVDs have their place, but the cinema is a tangible, emotional experience that I would hate my children not to have.
I grew up watching a lot of French cinema.
Filmmaking has always involved pairs: a director coupled with a producer, a director alongside an editor... The notion of couples is not foreign to cinema.
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.
I'm a student of cinema in general, not just of one particular genre. So it was very important to me and to my soul to go out and do something different.
Cinema for me only has meaning when it has a relationship with what I see outside on the street.
Nobody's ever made a film in the history of cinema where they weren't expecting some return on their dough.
Cinema is a mirror that can change the world.
Cinema is a reflection of its own society.
My company, Cinema Gypsy, produced a podcast, 'Bronzeville,' in conjunction with Larenz Tate and his brothers that we're developing into a television show. It deals with a very tight-knit African-American community in Chicago in 1947 and people who run a numbers wheel.
Indian cinema is no more limited to audiences in India. We have viewers all around the world, and hence, understanding the global perspective is a must. Cinema Beyond Boundaries would get the viewers and the filmmakers together and would help us in serving them with good quality cinema.
In France, if you have any sort of talent, you'd better keep it here. And if you're going to go abroad, it had better not be America. The old battle - American versus Frog cinema. It's ridiculous.
Hollywood is a town; it's not a medium. And cinema is a medium you can practice anywhere.
I was studying English, as you will, in the day, and five nights a week, I would be at the cinema. That continued throughout my 20s, which was also the 1980s - there was a lot of really good films coming out then.
I look at scripts, and sometimes I apply theory to them. For 'Antiviral,' for example, I was reading Laura Mulvey's 'Visual Pleasure and Narrative Cinema,' and it was all about the psychological process by which we fetishize the female image. It's all about scopophilia.
The convergence of the Rhone and Saone. Paul Bocuse. The birthplace of cinema. Chateauneuf-du-Pape just a few miles down the road. It does not get much better than Lyon.
