A Quote by James Ivory

If I hear that a film of mine is going to be shown on a big screen somewhere and I haven't seen it in a while, I make a point to get to see it. I just want to see it up on the big screen.
I think one of the reasons younger people don't like older films, films made say before the '60s, is that they've never seen them on a big screen, ever. If you don't see a film on a big screen, you haven't really seen it. You've seen a version of it, but you haven't seen it. That's my feeling, but I'm old-fashioned.
A large part of my filmmaking self has to do with my love of being in the cinema audience, and my relationships to what I want to see on the screen, what I have seen on the screen and what I don't want to see on the screen again.
The only thing I can say is that people requested,when The Exorcist it going to be on the big screen? People want it on the big screen and they want to see the footage. I think it's going to do very well. I think it will please people, and the fact that they added the new sound.
I always direct next to the camera and watch my actors, and so you can see the small things that you can't see on the small screen but you can definitely see on the big screen.
I'll remember this to my grave. We all walked into a room to see the screen tests. The first screen test was Marion Hutton's. Then came Janis Paige [who ended up with a part in the film]. Then on the screen came Doris Day. I can only tell you, the screen just exploded. There was absolutely no question. A great star was born and the rest is history.
Panorama is the first word for landscape in Greek. It was about [how today] we see everything, we get to see everything, everything is shown to you whether you want it or not, but all of the time you only see fragments of reality. The big picture we really don't see; it's kind of hard to make it up.
The only way to see a movie is in a big theater, on a big screen, with a big bag of popcorn.
I'm someone who believes the only way to see a movie is in a big theater, on a big screen, with a big bag of popcorn.
Now I know that however big a film, you have every right over how you want to be seen on screen.
While I was writing the book, I went to see Louise Brooks's most famous film, Pandora's Box, at the Tivoli in Kansas City, and it was a lovely experience. You can watch old silent films on DVD or even on YouTube, but it was a different feeling watching her up on the big screen, seeing the film the way people saw it all those years ago.
For me to see the film [Dream of Life] on a big screen - it's pretty extraordinary.
I'm in a constant conflict about having to make a movie for the big and the small screen at the same time, stylistically. So I just basically make it for the large screen.
Innumerable lovers of Hindi cinema have lit up the big screen. But on screen, they are just two beautiful bodies. They have no caste nor religion. The love that our filmmakers imagined was little more than make-believe.
It's tough to get any movie made, but unless it's a movie about race or culture or ethnicity, it's becoming less and less important who's playing what. You see that on the big screen and the small screen, and I think that's great. That's exciting.
I always knew I'd be an actor. I always knew I'd at least be on a big screen somewhere. Everyone else I was watching, they were cool, but I thought that I could bring something fresh and new, even when I was really young. I didn't really know how it was going to pan out, for sure, but I always knew that one day I would be on the big screen. I had no doubts in my mind.
There are certain films you want to see on the big screen.
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