Today films are made to cater to commercial markets created by multiplexes, not for those who enjoy good cinema.
I think that Liverpool's particular modern history lends itself to the cinema better than London in many ways. When you go to Liverpool, you absorb that whole sound and humour.
Used properly, cinema is the coolest thing in the world.
I like action movies, even though I think action movies are kind of derided now. But there is something extraordinary about action movies, which is absolutely linked to the invention of cinema and what cinema is and why we love it.
I was a young film student around the time of the new wave in film in the 1970s; old Hollywood was naff and over. For me, as a film student, I was going to see French and Italian cinema; American cinema was 'Easy Rider' and 'Taxi Driver.' Everything was gritty.
Everybody has something that chews them up and, for me, that thing was always loneliness. The cinema has the power to make you not feel lonely, even when you are.
Is the cinema more important than life?
I know nothing of life except through the cinema.
I don't think so much about verbal comedy. I always think about visual comedy. I was raised watching silents, and I'm always thinking about how to make cinema, not good talking - although I want good talking. I'm much more interested in framing, composition, and orchestration of bodies in space, and so forth.
I felt privileged to be a facet of such a jewel in the crown of American cinema.
The select group of people who do make realistic cinema, who do make cinema perhaps a little more acceptable to the Western audience, is a very small percentage.
I think it's important that we all try to give something to this medium, instead of just thinking about what is the most efficient way of telling a story or making an audience stay in a cinema.
Modern-day cinema takes the form of a sermon. You don't get to think, you only get to receive information.
Of course, like all film-makers I've been mesmerised by cinema since I was a child.
Our cinema has evolved in last 60 years because we have made people happy through our films. The main purpose of our storyline is to spread happiness. Our cinema has an emotional connect.
Strangers used to gather together at the cinema and sit together in the dark, like Ancient Greeks participating in the mysteries, dreaming the same dream in unison.
In the future, I would like to do more films with contemporary themes. Perhaps comedy, which is something I have done in theater but not in cinema.
As a matter of fact, I find the Western cinema very fantastic.
I've always been drawn more to film. But 'Bloodline,' to me, feels like a 13-hour piece of cinema. And the great thing about Netflix is you get to be almost like an editor. You choose how much of the narrative you want to watch at a time, which makes you complicit in the story.
I want people to leave the cinema feeling that something's been confirmed for them about life.
China's cinema has been rising for some time; it has more exposure, so my chances of becoming internationally known are better. But the first thing I have to do is learn English. If I can grasp the language, then perhaps I can think about the U.S.
I love acting. I've been doing it since I was 16, and it's in my nature. It's the thing I do best. But as much as I love acting, I love cinema more. I always had a thing about creating images.
I think people need to understand that with plays and with cinema, when you hear about it, call and get a ticket then or go and see it then. It's especially with the play, which I can do because it's a limited run.
Well, you cannot think of cinema now, and you cannot think of cinema in the UK and not place Chaplin in the most extraordinary elevated context, if there can be such a thing, in that he was a genius, he was unique.
I was part of a group that had a cinema club so every week we would project two or three movies on 16 or 35mm.
I'm a huge fan of world cinema, because each country uses cinema in a very individual way.
'Cinema Paradiso' is a fantastic film, I love that.
I have a kid and a husband and my family, and it's important to live the real life. I don't want to offer my whole life to cinema. It's only cinema.
I wanted to make a film - and I've been wanting to do this for 16 years - about life in care, and bring it to the public's attention, because I had never seen anything, on TV or in the cinema, which said: 'This is how it feels to be a kid in care'.
I really love sort of classical cinema where people were telling stories with very little dialogue, and people were using the camera in a really interesting way.
Telugu audiences love cinema. They won't let a good film down, and they've proved this with the way they accepted 'Srimanthudu.'
I'd like to be for cinema what Shakespeare was for theatre, Marx for politics and Freud for psychology: someone after whom nothing is as it used to be.
I definitely felt that I was put at a very high place to be able to be a part of such a wonderful franchise in cinema history, so I was definitely very driven at doing a great job and having my body look the way it should and just being a part of the creative process.
It's a standard staple in Japanese cinema to cut somebody's arm off and have red water hoses for veins, spraying blood everywhere.
I first came to cinema as a passionate filmgoer, when I was a child. Then, when I was a very young man, I became a film critic precisely because of my knowledge of cinema. I did better than others because of this. Then I moved on to screenwriting. I wrote a film with Sergio Leone, 'Once Upon a Time in the West.' And then I moved to directing.
Your relationship to a film, and to cinema, is very much determined by yourself, so what is relevant is you.
