A Quote by Debbie Reynolds

My dreams kind of came through when I went to see the cinema. — © Debbie Reynolds
My dreams kind of came through when I went to see the cinema.
All you can see, if you look through the window - everything you see is a fulfillment of dreams, different dreams.
We can't keep thinking in a limited way about what cinema is. We still don't know what cinema is. Maybe cinema could only really apply to the past or the first 100 years, when people actually went to a theater to see a film, you see?
My cinema - the '50s, '60s - is different from the cinema today so I thought that it would not be bad to show that kind of cinema where we could dream.
The director [Elfar Adalsteins] came to me through my agent and I had a read of the script [of the "Sailcloth]. I thought immediately this is someone who is writing for the cinema. Not having to go through the tedious business of taking something from literature and making that awful leap that is so difficult to make anyway, from literature to cinema. It's refreshing to be able to deal with a subject like that, to be written where the driving force is the image on screen and you don't need any words. The more that we can do that [in film], the better.
Talking about dreams is like talking about movies, since the cinema uses the language of dreams; years can pass in a second and you can hop from one place to another. It's a language made of image. And in the real cinema, every object and every light means something, as in a dream.
Talking about dreams is like talking about movies, since the cinema uses the language of dreams; years can pass in a second, and you can hop from one place to another. It's a language made of image. And in the real cinema, every object and every light means something, as in a dream.
Cinema is empathy machinery, and we multiply our life experience through cinema. When it is good cinema, it almost counts as a personal experience.
My absolute favorite song I've ever written is "This Is Where We Came In." It's a nudge at younger listeners, cause at one time you could go into a cinema halfway through a film and then stay through and pick up where you left off.
I would personally not run down any cinema just because I am not capable of making it. Anurag Kashyap makes a certain kind of cinema; I make a different kind. But when we meet, we are friendly.
If we hold on together I know our dreams will never die Dreams see us through to forever Where clouds roll by For you and I
That is another theme in the book [Dreams from My Father]. How do we exercise more empathy in our public discourse? How do we get the black to see through the eyes of the white? Or the citizen to see through the eyes of the immigrant? Or the straight to see through the eyes of the gay? That has always been a struggle in our politics.
I am extremely proud that our cinema is being recognised in the West. I want Indian cinema to get its dignity, not by giving them the kind of films they expect from us, but by making cinema in a way that carries the legacy of the mainstream masters forward.
There's something magical about film, it's the ultimate for me, because it's kind of permanent - inasmuch as anything is. When I went to see Buster Keaton when I was about 14 and I came out of the cinema having really laughed at this film which had been made 50 years before, I thought: That's immortality. It's fantastic.
Dreams and restless thoughts came flowing to him from the river, from the twinkling stars at night, from the sun's melting rays. Dreams and a restlessness of the soul came to him.
I remember going to the cinema to watch 'Blade Runner' when I was 14 or 15. It was a huge flop when it came out. The cinema was almost empty. I was blown away by it.
While we were filming 'Munna Bhai MBBS,' we didn't think we were doing some kind of mainstream cinema. I only knew that I was doing a different kind of cinema.
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