A Quote by Lee Daniels

I was always intrigued with European cinema, and hated most American cinema. I didn't like the one, two, three - boom! style, with a neat and tidy ending. That was never my scene.
The main difference I'd say is that European cinema has always used less music than American cinema for historical reasons.
More than my other films, Uncle Boonmee is very much about cinema, that's also why it's personal. If you care to look, each reel of the film has a different style - acting style, lighting style, or cinematic references - but most of them reflect movies. I think that when you make a film about recollection and death, you have to consider that cinema is also dying - at least this kind of old cinema that nobody makes anymore.
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?
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.
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.
The scene of independent cinema is already a large scene in America, and not in a negative way, but it's cluttered. It's very populated with just American films, so the room left for foreign movies is not extremely vast. The American public also does not really read. They don't read subtitles. But we're like that in Canada, too.
Always, European art cinema has been the most threatening and the grimmest and the most transgressive, I think.
There are different cinema traditions in France, Spain and other European countries. There's a much stronger intellectual tradition: cinema is seen in a more serious way.
People know that I have a great love for cinema. Not just for commercial cinema, but for the “cinema d’auteur.” But to me, two of the great “auteurs” are actually actors and they both happen to be French. One is Alain Delon and the other is Jean-Paul Belmondo.
With 'The Conjuring,' I really wanted to create classical cinema-style film-making, pure cinema as it were.
When I first envisioned 'Funny Games' in the mid-1990s, it was my intention to have an American audience watch the movie. It is a reaction to a certain American cinema, its violence, its naivety, the way American cinema toys with human beings. In many American films, violence is made consumable.
American films are the best films. This is a fact. Cinema is - along with Jazz - the great American art form. And cinema in a very real sense created the American identity that has been exported around the world.
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.
Seventies cinema - 'Taxi Driver,' 'Deliverance' - that was the best period of American cinema.
Cinema is capitalism in its purest form.... There is only one solution - turn one's back on American cinema.
I think American cinema, particularly, has become so disposable. It's not even cinema, It's just moviemaking.
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