A Quote by Eriq La Salle

I think American cinema, particularly, has become so disposable. It's not even cinema, It's just moviemaking. — © Eriq La Salle
I think American cinema, particularly, has become so disposable. It's not even cinema, It's just moviemaking.
'Black cinema' I don't even know what that means. It's just cinema. When Paul Thomas Anderson makes a movie, we don't just say it's 'white cinema.'
There is more to Indian cinema than just Bollywood. I think regional cinema, especially Tamil and Marathi cinema are exploring some really bold themes.
There is more to Indian cinema than just Bollywood. I think regional cinema, especially Tamil and Marathi cinema, are exploring some really bold themes.
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.
I think what I loved in cinema - and what I mean by cinema is not just films, but proper, classical cinema - are the extraordinary moments that can occur on screen. At the same time, I do feel that cinema and theater feed each other. I feel like you can do close-up on stage and you can do something very bold and highly characterized - and, dare I say, theatrical - on camera. I think the cameras and the viewpoints shift depending on the intensity and integrity of your intention and focus on that.
I believe in cinema! Unfortunately, 90 per cent of Hindi cinema is non-cinema. Only marketing works here. Even the item songs in these films are an extension of marketing.
When I first envisioned 'Funny Games' in the mid-1990s, it was my intention to have an American audience watch the movie. It is a reaction to a certain American cinema, its violence, its naivety, the way American cinema toys with human beings. In many American films, violence is made consumable.
American films are the best films. This is a fact. Cinema is - along with Jazz - the great American art form. And cinema in a very real sense created the American identity that has been exported around the world.
If you're going to break cinema, film, and movies apart, very rarely to you get the opportunity to even think that you've been a part of cinema.
I think, for an actor, the whole world is a place of work because if you focus on characters and on stories, they are everywhere, so yeah, I feel very privileged to have had this great opportunities in the international cinema and especially in the American cinema.
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.
Cinema is not about format, and it's not about venue. Cinema is an approach. Cinema is a state of mind on the part of the filmmaker. I've seen commercials that have cinema in them, and I've seen Oscar-winning movies that don't. I'm fine with this.
Seventies cinema - 'Taxi Driver,' 'Deliverance' - that was the best period of American cinema.
Cinema is capitalism in its purest form.... There is only one solution - turn one's back on American cinema.
It didn't even occur to me that I could use my strong image in cinema to propagate my political ideas. To me, cinema was cinema and politics was politics.
For people to understand, you can't speak 'cinema.' Cinema doesn't have alphabets, so you have to go to the local language. Even in England, if they make a movie in London they have to make it in the Cockney accent, they can't make a film with the English spoken in the BBC. So cinema has to be realistic to the area that it is set in.
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