A Quote by Elia Suleiman
What cinema can do is the reordering of this reality from a certain chaos or from a certain order into an aesthetic dimension.
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I've always been drawn to a certain kind of dark aesthetic in cinema and in film, to what's abjected or considered abject. I've been tremendously influenced by noirish cinema whether that's Von Sternberg or Scorsese in the 70s or Lynch, etc.
I would be open to doing cinema anywhere in the world. I wouldn't want to restrict myself to a certain kind of cinema or a certain language or get typecast.
A certain motion becomes understood when it is referred to a force; certain sensations, to matter; certain changes outside, to law; certain changes in thought, to mind; certain order singly, to causation - and joined to time, to law.
I think you've got to accept that certain things are in process that you can't change, that you can't overwhelm. The chaos of our cities, the randomness of our lives, the unpredictability of where you're going to be in ten years from now - all of those things are weighing on us, and yet there is a certain glimmer of control. If you act a certain way, and talk a certain way, you're going to draw certain forces to you.
Modern American cinema seems to me superficial. The intention is to understand a certain reality, and the result is nothing but a photographing of that reality.
We all appreciated a certain aesthetic, and with that appreciation came a certain stylized presence.
I came to Hollywood and I loved it. It was a great time, but in my head I was still elsewhere, in Europe. I believed in a certain cinema, which I still do believe in - a certain European cinema - and as a young woman being in America, I thought I was being taken away from that.
There's a two-tier justice system. And anyone who denies it is either naive or in denial. This is what the reality of America is. If you have certain privileges, if you're from a certain socioeconomic status, you have a certain skin color, the odds are in your favor.
Schiller never wanted to replace the moral with the aesthetic but he did want the moral to be one part of the aesthetic. He rightly notes the aesthetic dimension of morality, that we use concepts like grace to characterise people who do their duty with ease and pleasure.
I decided that I have certain taste in cinema and I will take it forward. I know there is an audience for such cinema.
We're certain there are people that can't stand what America stands for... We're certain there are madmen in this world, and there's terror, and there's missiles and I'm certain of this, too: I'm certain to maintain the peace, we better have a military of high morale, and I'm certain that under this administration, morale in the military is dangerously low.
The artist's task is not to alter the world as the eye sees it into a world of aesthetic reality, but to perceive the aesthetic reality within the actual reality. (On photographs by Helen Levitt)
Certain environments, certain modes of life, and certain rules of conduct are more conducive to inner and outer harmony than others. There are, in fact, certain roads that one may follow. Simplification is one of them.
The American public is a very specialized public. The reason it is taken as a realistic film is because inside the fable, I've put that kind of reality in. And it could easily be called, instead of Once Upon a Time in America, Once Upon a Time There Was a Certain Kind of Cinema. Because it was also an homage to cinema.
Cinema is a technologically mediated dreamspace, a way to access, a portal to the numinous that unfolded in the fourth dimension, so cinema became sort of a waking dream where we can travel in space and time, where we can travel in mind. This became more than virtual reality, this became a real virtuality.
There's a certain amount of absurdity to the idea that having extremely crisp clothes is what's going to get you through the door. And there's a certain sad reality to it, too.
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