A Quote by Laszlo Nemes

We're losing film, especially in projection, we're losing a great achievement of civilization. A still image and darkness make up 50% of the experience. The still images become movement in your head. That's the magic of cinema.
A lot of things come with fame, whether it's losing friends or losing family. You still gotta stand up and be that guy even when you ain't having great things. Because you've gotta be the spokesperson for your people.
Movies are movement. A comic-book is immobility. From one still picture to another, but no movement. You need to make the movement in your head. In the movies, you see the movement. It's different. What is the same is the mind of the creator.
The image can only be studied through the image, by dreaming images as they gather in reverie. It is a non-sense to claim to study imagination objectively since one really receives the image only if he admires it. Already in comparing one image to another, one runs the risk of losing participation in its individuality.
There was a culture that came out of the self-esteem movement which was don't anybody keep track of the goals. The kids keep track, but nobody keep track of the goals because we don't want the kids to have the experience of losing. And in depriving them losing, thinking it scarred them to lose, we made losing so taboo, so unspeakable, that we instead made losing more scary to kids, not less scary.
The film medium is some sort of magic. I think also it's a magic that every frame comes and stands still for a fraction of a second and then it darkens. A half part of the time when you see a picture you sit in complete darkness. Isn't that fascinating? That is magic.
It's okay to not be working all the time and to be gentle on yourself when you're not. When it feels like you're losing that inspiration - or you're in a rut, not making stuff, and your head gets all weird - be gentle on yourself. Just ease into things naturally. But you still have to ease into it: you still have to sit in the chair.
You work for years and years to make the Olympics, then something goes wrong and it's all gone. But that doesn't mean you can't still make your mark in another way. Losing in the Olympic Trials made me that much hungrier to become a world champion as a pro.
I came to Hollywood and I loved it. It was a great time, but in my head I was still elsewhere, in Europe. I believed in a certain cinema, which I still do believe in - a certain European cinema - and as a young woman being in America, I thought I was being taken away from that.
There comes that phase in life when, tired of losing, you decide to stop losing, then continue losing. Then you decide to really stop losing, and continue losing. The losing goes on and on so long you begin to watch with curiosity, wondering how low you can go.
Losing sucks. I don't care how much money you make or what stats you put up. If you're competitive enough to make it to the NBA, losing is absolutely brutal.
The main fear about growing old as an actor is not losing the looks. I never had any to speak of, and what I had I've still got, but losing the memory is another matter.
French cinema has always been very interesting, and it's still very powerful. I think it goes to show that it's great to still have a cinema that doesn't try to emulate, for example, American cinema.
I don't think about losing or worry about losing. I'm not afraid to let it go and I don't care if you beat me. If you do, that means you were the better man, but only elite fighters can beat me. There can't be shame in losing because you are up against great competition and there's always that chance.
The clock is just as much a part of the game as the board and pieces, and losing because of time-trouble is no different to losing because of weak play -- it's still a zero on the score-sheet.
I'm still fighting. I don't know how much longer, but I'm still fighting a struggle, which is to make cinema alive and not just make another film.
When you go through a moment, and you are down and losing your head, it gives you a lot of experience.
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