A Quote by Jenova Chen

In cinema we have all kinds of ways of communicating: cinematography, lighting, character performance. If you pay attention to silent era movie actors, they are big about postures and really exaggerated expressions so you can understand how they feel. We use all kinds of techniques from cinema to help communicate emotion.
I connect much more with theatre actors than with cinema actors - insofar as you can speak of 'cinema actors' in Mexico, because there isn't a big film industry.
I don't really follow television so much, but in the old days there was a certain way TV was, and it wasn't really like cinema. I don't know how many ways it was different or the same, but it was not quite like cinema. Now, cinema can happen on television.
I'm a big fan of silent cinema and I think that before I got into the canon of European arthouse cinema, the first interesting films I liked as a kid were German expressionist silent films.
What I'm really trying to do is recreate classic Hollywood cinema and classic genre cinema from a woman's point of view. Because most cinema is really made for men, how can you create cinema that's for women without having it be relegated to a ghetto of "chick flick" or something like that?
Cinema became what it is today when technology allowed movie directors and actors to develop emotion. You can see into the eyes of the actors and know when they are going to cry.
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.
Because I had other means of expressions, I was lucky that I didn't go under and start becoming all convoluted in my head. That can happen, if you're a serious actor and you're here to really be a part of cinema, and when cinema ignores you, it can be devastating.
Nearly all spiritual practices are based on attention. In fact, whenever you think you have lost the path, or whenever you feel confused by esoteric terminology or technique, remember that all these techniques or teachings are various ways to help you learn to pay attention.
I think if some people know anything about African cinema it's something like the The Gods Must Be Crazy, which is such an awful, condescending movie that debases African participation, and anything I can do to shift that and draw attention to rich and widely varied films that come from there- because there's all kinds of filmmakers from Senegal, you have Mambety, and Haroun with Grigris.
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.
I understand that there are two kinds of films, there is the kind of cinema which allows you the opportunity to be an actor and then there are the masala entertainers. I have done both.
For students, understanding the separate and unique functions of each branch of government can help them understand how different kinds of government officials can help solve different kinds of problems.
The cinema I particularly love is the cinema of the golden age of the studios in the 1930s. One of the really nice things about it was the way teams of actors and directors and crew people worked together again and again.
I would not like to have a homogeneous type of film. I wanted to go to many different kinds of ways of making cinema and telling stories and watching the country.
'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.'
I can feel so bad about myself, especially if I start to pay attention to the kinds of stupid comments around the Internet.
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