That's why I like my job so much, cinema is a nation. I see on Twitter, there's people are calling themselves Portrait Nation. That's beautiful. To me, it's about campaigning for cinema, that's my commitment.
People know that I have a great love for cinema. Not just for commercial cinema, but for the “cinema d’auteur.” But to me, two of the great “auteurs” are actually actors and they both happen to be French. One is Alain Delon and the other is Jean-Paul Belmondo.
Feudal societies don't create great cinema; we have great theatre. The egalitarian societies create great cinema. The Americans, the French. Because equality is sort of what the cinema deals with. It deals with stories which don't fall into 'Everybody in their place and who's who,' and all that. But the theatre's full of that.
When I was at Berkeley, the framework of quantum field theory could calculate the dynamics of electromagnetism. It could roughly describe the motion of the weak nuclear force, radiation. But it hit a brick wall with the strong interaction, the binding force.
Love is the binding force on every level of existence.
In a very real sense, the Constitution is our compact with history . . . [but] the Constitution can maintain that compact and serve as the lodestar of our political system only if its terms are binding on us. To the extent we depart from the document's language and rely instead on generalities that we see written between the lines, we rob the Constitution of its binding force and give free reign to the fashions and passions of the day.
The Scout Oath and Law are our binding disciplinary force.
We should lay aside every hindrance and endeavour by uniting the whole force and spirit of our people to raise again a great British nation standing up before all the world; for such a nation, rising in its ancient vigour, can even at this hour save civilization.
I think it's a great pity in the Anglophone world that we conflate cinema verite and Direct Cinema; they're, in fact, ontological opposites. In Direct Cinema, we create a fictional reality with characters and pretend we're not that.
Only by binding together as a single force will we remain strong and unconquerable.
Love is a binding force, by which another is joined to me and cherished by myself.
If money is the bond binding me to human life, binding society to me, binding me and nature and man, is not money the bond of all bonds? Can it not dissolve and bind all ties? Is it not, therefore, the universal agent of separation?
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.
Since the only life you can have is the life of the Spirit within you, you need but permit Its radiance to flow through your thought into self-expression. You are surrounded by a dynamic force, a great surge of living power. You are immersed in and saturated with the vital essence of Life. Its presence permeates everything, binding all together in one complete whole.
But, strictly speaking, this mythology was no essential part of ancient religion, for it had no sacred sanction and no binding force on the worshippers.
I have a very simple mantra and it's this: I want to make black cinema with the power, beauty, and alienation of black music. That's my big goal. The larger preoccupation is how do we force cinema to respond to the existential, political, and spiritual dimensions of who we are as a people.