On Friday night, if you want to go out on a date with your wife or your girlfriend, nothing on Netflix competes with that, right? Because you're getting out; that's what you're doing. If you don't want to put your shoes on, nothing in the cinema competes with the worst thing on Netflix.
I don't know anything about life, but everything about cinema.
I'm very fond of the British cinema. I'm a big fan of Martin Campbell and Daniel Craig. I actually find Daniel very inspirational, especially on the physical side of things. He really inspired me to get back into shape when I started to add on a few pounds. I think he's a great role model.
Personally, I prefer contemporary films, but the market calls for more period choices, especially since China opened up a cinema market in Hong Kong. There's a lot of restriction for contemporary films simply because of subject matter.
Although I could read before I went to school, and I won the school reading prize at five years old, my early children's stories came from the radio and watching films at a cinema on Saturday mornings in Australia. It wasn't until I was nine years old on a ship returning from Australia that I was introduced to children's books.
I'm a late bloomer. Even in high school, everyone else was charging ahead, and I didn't come into my own until very late. I feel that's true in cinema, too. I didn't even start 'Metropolitan' until I was 37.
With superheroes and comics and fantasy and sci-fi being absolutely the popular currency in cinema, it's like people have said in endless magazines, it's the revenge of the geeks and all that. There's some truth in that.
My films often have a spiritual dimension which comes from my Muslim background, and I'm happy to tackle that in cinema.
Yes, I'm a 'Twi-hard.' I became obsessed. Absolutely obsessed. I didn't watch television, I didn't go to the cinema. My friends would ring and say: 'What are you doing?' And I would say: 'I've just got to finish this chapter.'
I think, for an artiste, it's important to be aware of world cinema.
I had two different kind of parents. My mother was obsessive with movie stars and cinema and Hollywood because she worked in movies. And my father was obsessed with beauty everywhere - in art, in nature, animals.
I think that Christians who have an interest in filmmaking need to deepen their love for cinema. To be honest, that's what I think has been missing historically from the Christians who want to succeed in the Hollywood industry.
I wouldn't want to do a Bollywood film per se, but I would like to do an Indian-language film. For some reason I think Bollywood has become synonymous with commercial cinema, which is song and dance and everything that is larger than life, and I am interested in the reality.
I'm a lover of cinema, and I don't want that to completely expire.
When I was in Lochgelly as a boy, I went to the cinema every night - and on Sundays, I used to go to Cowdenbeath and see something there.
I'm not emotionally excited by the power of cinema's tricks anymore.
I never want to make the kind of film whose impact ends when the audience leaves the cinema.
I consider myself fortunate that in my home, acting or the creative arts were a good option. This was a respected tour of duty in my family. Acting wasn't something that was left to tragic bohemians. But we weren't a family that obsessed on cinema.
My cinema is an extension of myself. A sort of life-testimony of my vital experience, with my few virtues and my numerous limitations.
It's important for cinema to keep on evolving: for people, and not only teenagers, to be able to go to a movie that has huge epic scope but has an intellectual and real story to tell.
I've always been a fan of Korean cinema but never really pursued it, as I wanted to pave my way here in the States. I figured, once I established myself here, Korea might take notice. And it did.
There's nothing like sitting in a completely quiet room, and then the strings start up. It's like when you go to the cinema - the first two or three minutes of any film are amazing. Because the screen is so big. The scale. Directors can pretty much do anything for those first few minutes.
Coming out of the '60s and the Vietnam War in America, it was commonplace for people to make films that had relevance to them. And since the '70s, cinema has gone almost entirely in the direction of spectacle and escapism and superhero films.
If one lazily thinks of what a fashion designer might do if he's going to conquer cinema next, it would be taking the opportunity to display his fashion sensibilities.
I love going to the cinema and thinking you're seeing something, and you end up on a whole other planet, and you can't believe it.
For me, the cinema is not a slice of life, but a piece of cake.
Event cinema is what it is, and I understand why it's successful. It started with things like 'Jaws,' which are extraordinary movies. But what we've lost are great character films which are beautifully directed and had great movie stars in them. Films that were about something rather than about spectacle.
I'm heavily influenced by European and American cinema, but the further I get in my career, the more I find myself looking back East for inspiration.
Cinema and the arts invite viewers to focus on a story and, in doing so, peel away its layers and peer into the depths of the human soul.
Superstars in every era have come from outside the industry, and that will continue to happen because cinema is nobody's birthright.
The scene of independent cinema is already a large scene in America, and not in a negative way, but it's cluttered. It's very populated with just American films, so the room left for foreign movies is not extremely vast. The American public also does not really read. They don't read subtitles. But we're like that in Canada, too.
In 2008, A.J. Schnack recruited Thom Powers to start the Cinema Eye Honors to recognize the artistry and craft that go into making documentary films.
A lot of dumb pictures have made a lot of money, but that doesn't mean they're going to be anything cinema students will revel over in the future.
There's a difference between watching a film and watching a bit of cinema and enjoying a film as a piece of cinema.
Cinema gives you the opportunity to be both a grandparent and a grandchild whereas in life you cannot be both at the same time.
From a dramatic viewpoint, there are few professions that grant their members entry into other lives, high among them cops, doctors, clergymen, journalists and prostitutes. Perhaps that explains why they figure in so much television and cinema. Their lives are lived in the midst of human drama.