A Quote by Gaspar Noe

I think that in the American film industry - or even in the European cinema - movies are made not to disturb any kind of class or any kind of minority. — © Gaspar Noe
I think that in the American film industry - or even in the European cinema - movies are made not to disturb any kind of class or any kind of minority.
Besides kind of like the Wes Anderson, or, of course, a lot of the European movies, most everybody in the States, the big studios, make pretty much the same film. And we're kind of held to Pixar standards, or Disney standards, as it's kind of always been in the animation industry.
If you are honest, you are in the minority; if you are clever, you are in the minority; if you do not believe in any religious craps, you are in the minority! If you are not in the herd, you are in the minority! What a glorious privilege to be in this kind of minorities!
I like action movies, even though I think action movies are kind of derided now. But there is something extraordinary about action movies, which is absolutely linked to the invention of cinema and what cinema is and why we love it.
The success of 'Dhruva' has given me more satisfaction than any of my previous hits, simply because the audience accepted the film even though it was experimental. I really hope this kind of acceptance makes experimental cinema the new mainstream cinema.
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.
Norman Rockwell - even though we think of him as a great American artist, in a lot of museums he has not garnered that kind of attention. And it's this kind of accessibility that we're trying to bring - not looking down on any art.
I can make any kind of movies. I can put up with any kind of situation. And I can tackle them.
More than my other films, Uncle Boonmee is very much about cinema, that's also why it's personal. If you care to look, each reel of the film has a different style - acting style, lighting style, or cinematic references - but most of them reflect movies. I think that when you make a film about recollection and death, you have to consider that cinema is also dying - at least this kind of old cinema that nobody makes anymore.
I am the last person who has any judgement about any kind of cinema, least of all commercial cinema because I am a product of commercial cinema.
American movie audiences now just don’t seem to be very interested in any kind of ambiguity or any kind of real complexity of character or narrative - I’m talking in large numbers, there are always some, but enough to make hits out of movies that have those qualities. I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television.
There wasn't even a movie theater in the town. Nothing. Not even any fast food chains of any kind. Regardless, I knew that I was going to leave and become an actor, and be in film and television, and I've done it.
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.
I wish to be focused on kind of the business stuff I'm doing, how do I contribute to our economic progress, how do I help create a future for American industry, American middle class, these kind of things. Those things actually really matter to me.
The American cinema in general always made stories about working-class people; the British rarely did. Any person with my working-class background would be a villain or a comic cipher, usually badly played, and with a rotten accent. There weren't a lot of guys in England for me to look up to.
As a band, we just don't tolerate any kind of abuse or intolerance of any kind of LGBT people by any kind of government.
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.
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