A Quote by Jesus Franco
I don't think I've done anything important or magnificent. I'm a worker, and the thing I prefer in my life is cinema. When I'm working in cinema, I'm happy. And that's all, you know?
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I think it's important for anyone who takes cinema seriously not to limit yourself to just optimistic or happy movies. I think that's a problem. You've got to be willing to let the art of cinema take you into some darker places if you're going to make full use of it.
I love cinema. It is the most important thing to me. Life is cinema. It has been this way since I was a child of about 14, and I was going every day to see the movies.
My sense of cinema improved slowly as I started watching South cinema, got to know that cinema is much appreciated here.
I have a kid and a husband and my family, and it's important to live the real life. I don't want to offer my whole life to cinema. It's only 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.
I haven't got the kind of films from mainstream cinema which I would have wanted. But then mainstream cinema has a different bunch of people who are happy working with each other, which is fine.
I think cinema is needed throughout Africa, because we are lagging behind in the knowledge of our own history. I think we need to create a culture that is our own. I think that images are very fascinating and very important to that end. But right now, cinema is only in the hands of film-makers because most of our leaders are afraid of cinema.
'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.'
Cinema is empathy machinery, and we multiply our life experience through cinema. When it is good cinema, it almost counts as a personal experience.
I'm working in a form of cinema that can be described, and has been described, as a diaristic form of cinema. In other words, with material from my own life. I walk through life with my camera, and occasionally I film. I never think about scripts, never think about films, making films.
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.
The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn't.
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.
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.
Some people feel that the purpose of cinema is entertainment - which in itself is a healthy enough goal, provided you define what constitutes entertainment. But I come from a family where I grew up believing that cinema - art - should be used as an instrument for change and that's the kind of cinema I've largely done and been attracted to.
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