A Quote by Jiah Khan

I love working in cinema - it can be in any language! — © Jiah Khan
I love working in cinema - it can be in any language!
Art and cinema is not restricted to any language.
The Urdu or Hindustani language we use isn't popular in theatre these days. It was a language that was being used in cinema from the 1950s until the '80s. It is a very communicative language.
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.
Obviously no language is innate. Take any kid from any race, bring them up in any culture and they will learn the language equally quickly. So no particular language is in the genes. But what might be in the genes is the ability to acquire language.
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.
Talking about dreams is like talking about movies, since the cinema uses the language of dreams; years can pass in a second, and you can hop from one place to another. It's a language made of image. And in the real cinema, every object and every light means something, as in a dream.
Talking about dreams is like talking about movies, since the cinema uses the language of dreams; years can pass in a second and you can hop from one place to another. It's a language made of image. And in the real cinema, every object and every light means something, as in a dream.
I'm German! Actually, I love my countr, ;I love the language. The German language is very special because it is so precise. There is a word for everything. There are so many wonderful words that other languages don't have. It is impressive to have such a rich language, and I love to work in that language.
The language of prose is very different than the language of cinema, so the movie has to successfully translate what was in the book.
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.
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?
Working with the Latin language is pretty powerful. Working with a language that is not spoken vernacularly is intense.
Expressing love in the right language. We tend to speak our own love language, to express love to others in a language that would make us feel loved. But if it is not his/her primary love language, it will not mean to them what it would mean to us.
Actually I don't watch a lot of films but when I do, I like experimental, avant garde, European and world cinema. That is the language of cinema I am drawn towards. I don't watch much Hollywood or Bollywood.
David Fincher is probably the best comprehensive director in terms of being a manger of a process that must drive forward. He has such confident command of cinema language and visual language and script and performance. He knows more about f-stops than any cameraman, he knows more about lighting than any gaffer, he is a wonderful writer, and he can give you a good line reading. Under pressure, he is the kind of guy who you will just dive in with and trust and follow because his vision is so intense.
Well, as a visual artist working with the phenomenon of cinema, the grammar of cinema, [making a feature] was bound to happen. Everything I do is like sculpting with image and sound.
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