A Quote by David Hare

. . . it is true that language and forward movement in the cinema are jolly hard to reconcile. It's a very, very, difficult thing to do. . . . There is still a place in the cinema for movies that are driven by the human face, and not by explosions and cars and guns and action sequences . . . there's such a thing as action and speed within thought rather than within a ceaseless milkshake of images.
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.
Everything today is such a massive visual show. It's very rare to get a film where the characters are raw and real - and you can take people back to where they are watching live cinema. With character-driven action. Not visual-driven action.
I'm not a fan of action movies. I don't watch many action movies, I don't have a lot of references except for 70s action movies or cinema noir.
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.
Comics are just another medium to express yourself. It's not cinema; it's not literature; it's just something else. It has a specific requirement, which is that images are used to tell the story. There are lots of crappy movies, with guns and action and Arnold Schwarzenegger or whatever.
Let me be very frank. I make films keeping within the mainstream and my cinema is popular cinema. I love it this way.
Action movies live and die by the story that you're trying to tell. It's hard. It's very difficult to do an action movie that stays engaging.
The movies I like to make are very rich and full of passion. Some people see me as an action director, but action is not the only thing in my movies. I always like to show human nature - something deep inside the heart.
Hollywood is a very male business, and it has in vast portions of it - the whole action movie part of it might as well be the United States Army in 1943 in that the ethics of it are, you know, boot camp and action movies and guns and explosions and all the rest of it, and that - so that means that about 50% of the business is not only pretty much closed off to women, but women don't even wanna be in it!
For me, there was no great myth around the movies when I was a young child. My father was very simple about the whole thing. He did not consider cinema an art. Cinema was entertainment. Literature and music were art.
A message I've been telling myself: the cinema is very conservative, and unless you have a story that satisfies you, that is within the unchallenging zone, but you love it, you can't do it as cinema. Otherwise, you better go do it for television, which is more daring now.
To have an idea of a thing is not just to get certain sensations from it. It is to be able to respond to the thing in view of its place in an inclusive scheme of action; it is to foresee the drift and probable consequence of the action of the thing upon us and of our action upon it.
I'm very interested in dance, and I'm very interested in how people express themselves through movement. And of course, cinema is a kinetic art form. It's almost the point of cinema - it's time-based and movement-based.
I don't know whether we think in moving images or whether we think in still images. I have a suspicion that on our hard drive, our series within our brains, [exist] still photographs of very important moments in our lives. ... That we think in terms of still images and that what the photography is doing is making direct contact with the human hard drive and recording for all time a sense of what happened.
The most important thing for me in an action sequence is, you understand the characters' intention and the challenges the characters are going to have to face: what the character story is within the action sequence.
Very few people make exterior movies anymore. It's always action films driven by action and quick editing.
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