A Quote by Nicholas Royle

I'm not trying to write cinematic novels, but I have been told several times that my style is cinematic. — © Nicholas Royle
I'm not trying to write cinematic novels, but I have been told several times that my style is cinematic.
Purely cinematic film ... actually the purest expression of a cinematic idea.
There is no other way to break the frozen cinematic conventions than through a complete derangement of the official cinematic senses.
I've always approached television from a little more cinematic perspective, if not a much more cinematic perspective because of the shows I have been fortunate enough to work on.
When you write a scene where somebody is afraid of something you instantly go to decades of genre cinema: horror, suspense, and thrillers. Those are very cinematic genres, when you shoot a close-up of someone and you can see fear in the person's face, or anticipation, or some kind of anxiety, it's a very cinematic image.
I need to create a whole cinematic experience. I think that's what it takes to get the audience to the theater and justify seeing [a movie] on a big screen. You have to give them a cinematic experience.
When we say 'cinematic', we tend to think John Ford and vistas and wide-open spaces. Or we think of kinetic camera movement or of a certain number of cinematic styles, like film noir.
Both cinematic culture and the culture at large have changed profoundly. We're now in post-cinematic digital culture, and the internet has obviously usurped movies, which are no longer central to our lives, at least not as a collective spectator experience.
My problem is that whenever I shoot, I do it Bruce Willis "Die Hard" style - in a very cinematic fashion.
I'm not a cinematic cinematic person. I go to the movies like I did back when I was a kid. I go to the movies and I sit down. If the music works, hmm. If it doesn't work, hmm. The whole concept of the thing, not as one piece here or there. For me, music is a large part.
I've been told, and I think I recognize it, that there's a cinematic quality to my writing, with a sense of image and place and scene - and, some would say, my tendency to finish my books the way Hollywood finishes its films.
I write both, as you know, dozens of ecological and social scientific and historical works, dozens of novels. It's hard to describe a novel that grapples with the horrors of World War II as anything but grueling. But Codex Orféo is somehow...well, I hope, riveting for readers. Deeply provocative. Cinematic in a nearly surreal sense.
I use cinematic things in a theatrical way on stage, and in film I use theatrical techniques in a cinematic way.
'The Blue Dragon' uses very filmic language and involves a lot of technology. It is more cinematic than theatrical and was inspired by comic strips and graphic novels.
I don't make the best movies in the world, but at times, I do feel like I'm adding something to the cinematic community.
A lot of the commercials that I was doing were very slice-of-life, emotional, documentary-style, not big and cinematic and ultimately like the kind of movie I wanted to make.
'The Blacklist' was really right place, right time. I read the script and met with Jon Bokenkamp, John Eisendrath, John Fox and John Davis, and we just hit it off. They understood that I was not so much trying to adapt to television, but adapt a cinematic style to the things that we were gonna do.
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