A Quote by Leos Carax
I care about cinema even though I haven't made many films.
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I don't even watch many huge films. I don't go to the cinema every weekend. I watch selective cinema and want to make my kind of films.
Do you like him? Ty asked. "Not that I care." "I do," I said, because it was true. Even though it didn't matter anymore. "Not that I care you don't care. Though you clearly do care, and I don't care about that either." "Well, I don't care that you don't care that I don't care. In fact i'm glad. Because, um, if I were seeming someone that I liked, I'd want you to be happy for me.""Are you seeing someone?" I asked, pretty sure he wasn't. "Not that I care.
My films are about faith, and they're made on faith. There has to be faith because making a movie, so many things can go wrong. Me and my crew take the leap together, trusting the net will appear. I've been fortunate even though I've worked with small budgets, people have donated time and talent because they feel the films have something important to say.
During the war, I saw many films that made me fall in love with the cinema.
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.
I believe in cinema! Unfortunately, 90 per cent of Hindi cinema is non-cinema. Only marketing works here. Even the item songs in these films are an extension of marketing.
Because many of the films I've made have had an intellectualedge, it's harder for me to lie. It's harder for me to go to peoplewith money and say I don't care about art, all I care about iscommerce; all I really want to do is make money.
I've seen films that have made as much as $100, $200 million, but they're not films. They're images. They're flashes. They're many beautiful images, lots of things to look at. They capture you. But it's not a film. It's not something that involves you in a story. They go to cinema now to be blown away by the effects.
Films have been my only passion in life. I have always been proud of making films and will continue taking pride in all my films. I have never made a movie I have not believed in. However, though I love all my films, one tends to get attached to films that do well. But I do not have any regrets about making films that did not really do well at the box office.
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.
There are quality films being made in all languages, whether in Hindi cinema, Bengali or the south. Bollywood doesn't represent Indian cinema, per say.
Even though we've written epic poems and made incredible films about love, I still don't think anyone can understand what it is, or why it means everything.
I always feel I have made unfilmable books. I even felt that way about a book of mine that was later made into a movie. But my wife, who has made two films, thinks this one would make a very original film. I'm all for original films.
Do you know anything about silent films?" "Sure," I said. "The first ones were developed in the late nineteenth century and sometimes had live musical accompaniment, though it wasn't until the 1920s that sound became truly incorporated into films, eventually making silent ones obsolete in cinema.
I don't think I've succeeded in making any really good films. There are moments, scenes, whole movements that sing. It has all added up to a cinema of sorts, even though I'm still learning my art.
There are so many varieties of films. You've got the jet-lagged films, where you fly to Bulgaria or wherever and get off the plane, and they bring you right to the set, and you start working, even though I don't even know my name, it's been such a long flight. Then there's the alimony films. But after you've been doing this long enough, you've gotten into every kind of situation you can imagine, even to the point where there is basically no script, so you have to kind of do it scene by scene and survive.
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