A Quote by Martin Scorsese
Cinema is a matter of what's in the frame and what's out.
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Cinema returns us to anima, religion of matter, which gives each thing its special divinity and sees gods in all things and beings. Cinema, heir of alchemy, last of an erotic science.
But I must confess that Kashmir is one place that made me reach out for the camera. Such is the setting that no matter in which direction one looks, you get a gorgeous frame.
I think that's true of all cinema, that's why cinema is the great humanistic art form. Whatever the film is, it doesn't matter what the film is about, or even whether it's a narrative or figurative film at all, it's an invitation to step into somebody else's shoes. Even if it's the filmmaker's shoes filming a landscape, you go into somebody else's shoes and you look out of their lens, you look out of their eyes and their imagination. That's what going to the pictures is all about.
From a philosophical perspective, I want to fight off isolationism and protectionism, be it part of another voice out there that says, wait a minute, what matters to women in Afghanistan matters to America. An isolationist point of view says it doesn't matter. The articulation of "all life matters" helps frame the case that it does matter what happens to a woman in Afghanistan.
Frame is a good enough piece of software that there are actually rewards to taking an intelligent and formal approach to your problem. But if you want to be stupid, you can think of Frame as a version of Microsoft Word with most of the bugs taken out.
At times doc filmmaking feels more rewarding creatively. Because you are creating something out of pure cinema - instead of narrative cinema, where you've got a script and a cast and you build from your foundation, whereas in documentary, you're building out of chaos.
In Hindi cinema, the cabaret dancers were eased out when the heroines imbibed their mannerisms. This could happen in Malayalam cinema too.
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.
For example, in painting the form arises from abstract elements of line and color, while in cinema the material concreteness of the image within the frame presents - as an element - the greatest difficulty in manipulation.
The cinema began with a passionate, physical relationship between celluloid and the artists and craftsmen and technicians who handled it, manipulated it, and came to know it the way a lover comes to know every inch of the body of the beloved. No matter where the cinema goes, we cannot afford to lose sight of its beginnings.
I don't believe in proper cinema; it doesn't have the strength of television. People having to go out to the cinema is really archaic. I'd much rather sit at home.
I remember going to the cinema to watch 'Blade Runner' when I was 14 or 15. It was a huge flop when it came out. The cinema was almost empty. I was blown away by it.
My sense of cinema improved slowly as I started watching South cinema, got to know that cinema is much appreciated here.
Film is pop art. It's not whether it's auteur cinema or not; that's a false distinction. Cinema is cinema.
My cinema - the '50s, '60s - is different from the cinema today so I thought that it would not be bad to show that kind of cinema where we could dream.
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?
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