A Quote by Kenneth Turan

Audiences looking for a rich, textured, cinematic experience will be put off and disconcerted by an image that looks more like an advanced version of high definition television than a traditional movie.
I'm developing some high-frame-rate 3-D processes that are going to be, I hope, indistiguishable from reality. This will be quite an unusual cinematic event - you don't just tell an ordinary story, it's more of a first-person experience where the melodrama doesn't get in the way. Being inside the movie rather than looking at the movie.
I need to create a whole cinematic experience. I think that's what it takes to get the audience to the theater and justify seeing [a movie] on a big screen. You have to give them a cinematic experience.
Some might not know that 'What's Happening' was the television version of 'Cooly High.' When I went on the audition, it was an audition for exactly that: the TV version of the movie.
I think television is moving more into movies, particularly with serialization and almost cinematic proportions and expectations. A show like 'Game of Thrones' is a perfect example of that, or even a show like 'The Wire,' which isn't all about instant gratification it's about inviting someone into the long experience of television the way you'd be invited into a theater for two hours. So I think in that way, and the quality of writing in television is probably much better than most film writing.
'Twin Peaks' is like a movie; 'China Beach' is like a movie. These are two of the most cinematic shows on television, and they belong together.
While the storytelling in games is getting so much better, you look at something like Grand Theft Auto V, which I thought was really beautifully written, it doesn't really need a movie because it is a movie. So I think you need a unique game - you either need an incredibly talented writer and director to come in and put together an amazing vision, or you need a game like Metal Gear, which is very cinematic, has a huge amount of history behind it, but whose cinematic experience is very different from what you'd get in a theater.
I've always felt that improv looks and feels more clever when you're there to experience it live than when you have the degree of separation that television creates. Television raises expectations.
Frank Capra, Hollywood's Horatio Alger, lights with more cinematic know-how and zeal than any other director to convince movie audiences that American life is exactly like the 'Saturday Evening Post' covers of Norman Rockwell. 'It's A Wonderful Life,' the latest example of Capracorn, shows his art at a hysterical pitch.
In France, the image I had was of a shy girl - a poor lonely girl and not too good-looking. When I went to England, I had another image. I felt the journalists were much more interested in my looks than in my songs.
Whether people are making narrative cinema or experimental cinematic movie experiences, they all want the biggest screen possible and the quietest room and the most attention to every nuance and detail. Obviously, most people will not see the movie that way, but I can still hope for it, and I'd like to think we will be able to pull it off this time.
I've always approached television from a little more cinematic perspective, if not a much more cinematic perspective because of the shows I have been fortunate enough to work on.
I think my job is to deliver the best, most cinematic, rich, exciting, surprising and emotional version of 'Camelot.'
The 2-D movie works as well as the 3-D movie. I want to make sure that people like the 2-D version. It's not a gimmick. It actually improves the viewing experience, but the movie stands on its own.
I'm interested in cinematic realism. I think there is a rich potential to bring to audiences people they haven't seen before, that they are discovering a bit like how we discover people in life for the first time. There's an authenticity that can't be denied.
With high definition TV, everything looks bigger and wider. Kind of like going to your 25th high school reunion.
The narrative image has more dimensions than the painted image - literature is more complex than painting. Initially, this complexity represents a disadvantage, because the reader has to concentrate much more than when they're looking at a canvas. It gives the author, on the other hand, the opportunity to feel like a creator: they can offer their readers a world in which there's room for everyone, as every reader has their own reading and vision.
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