I studied classics, and I find it mystifying that we had Medea and Electra and Antigone and all these amazing characters, and they don't really exist in cinema now. The only person who's really doing it, and he gets loads of criticism for it, is Lars Von Trier.
For me, cinema's like a language - everyone has their own form of it.
I think the long-term effect of video on cinema is good in that what we are now getting up there on the screen is of superior quality. Videos are just so much more sensitive to the world.
There is this miraculous thing I heard Hugh Grant talking about - the thing about screen acting is that you can read people's thoughts. You are trying to register something inside and usually the eyes in cinema are where you will register that.
Now why should the cinema follow the forms of theater and painting rather than the methodology of language, which allows wholly new concepts of ideas to arise from the combination of two concrete denotations of two concrete objects?
Cinema reflects culture and there is no harm in adapting technology, but not at the cost of losing your originality.
French cinema has always been very interesting, and it's still very powerful. I think it goes to show that it's great to still have a cinema that doesn't try to emulate, for example, American cinema.
I prefer ordinary girls - you know, college students, waitresses, that sort of thing. Most of the girls I go out with are just good friends. Just because I go out to the cinema with a girl, it doesn't mean we are dating.
Because there is so little room for expression otherwise, a lot of people love cinema because they find it a way of expressing themselves.
I'd like to be part of out-of-the-box films like 'Shahid.' I see myself being part of realistic cinema.
I saw 'The Exorcist' at the cinema when I was quite young, maybe 14. When I went back home, my mum and dad weren't in, so I had to wait for them on the main road. I were too scared to enter the house.
In Iranian cinema, all the lying takes place before making the film. In order to be able to make the film, you have to lie.
The cinema I particularly love is the cinema of the golden age of the studios in the 1930s. One of the really nice things about it was the way teams of actors and directors and crew people worked together again and again.
It used to be that watching a film was a very special occasion, the same way flying was. Before, if you took a flight from New York to L.A., most of the windows would be open. Now, we get on planes and we just close them because we're so used to what it feels like. I think the same thing has happened with cinema.
If cinema is a woman then certainly there are many shores.
There's a great danger in making this seem more important than it is, this whole Free Cinema thing.
There are no rebels in the cinema business.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
Everyone is looking for a purpose in life. The reason we all go to the cinema or online is because we haven't found a purpose yet. We are always wondering why we're here. But I've learned that we have to create that purpose for ourselves.
I'd love to find a really good Brazilian project, an up and coming director or something. I wouldn't want to do the typical favela story, Brazilian cinema has a lot more to offer than just that.
The big French movie distributors are the Trojan horse of the American cinema.
We want to assist China's soft power; we want to develop a vibrant young cinema in China. The average American has no understanding whatsoever of China. We'd like to create a young generation to tell their stories on a world stage. We can make history as well as make money.
I think cinema should provoke thoughts, sure, but using it as I soapbox I think is the wrong place. I never want to be part of something like that, where there's an agenda there that's not about telling a story, where its someone getting on a soapbox and preaching their own beliefs onto somebody.
For so many filmmakers, cinema is a means to an end.
Realism is always subjective in film. There's no such thing as cinema verite.
I'm totally devoted to '30s cinema.
More than an actor, I am a performer... I'm a great believer - honestly so, shamelessly so, vulgarly so - that cinema is for entertainment. If you want to send messages, there's the postal service.
I'm very interested in cinema that explores emotional journeys and where you can use everything at your disposal cinematically to locate you inside someone's head and their emotional landscape.
When I was 16, I felt very relieved to discover cinema. It was like an island where I could see life and death from another perspective. Every young person should be interested in that island. It's a beautiful place.
I loved movies as a teenager and saw as much American cinema as I could, but I hated the English films of the early '60s and had absolutely no point of identification with them.
Basically, I was a very serious film fan. I watched a lot of cinema and contemporary and European film.
Norway is a small country, about half the size of Sweden, but it has a very good film climate because they have municipal cinemas, so even in the smallest towns you have a cinema that shows art house films from all over the world.
The cinema is an institution nowadays, with its roots sunk deep in the hearts of the millions of people who find enjoyment and entertainment in going to the pictures.
I think cinema, movies, and magic have always been closely associated. The very earliest people who made film were magicians.
It's great to go to the cinema and have a conversation about something that is almost taboo.
There aren't many odysseys in cinema for characters.
