A Quote by Nicolas Provost

Well, as a visual artist working with the phenomenon of cinema, the grammar of cinema, [making a feature] was bound to happen. Everything I do is like sculpting with image and sound.
A film in which the speech and sound effects are perfectly synchronized and coincide with their visual image on the screen is absolutely contrary to the aims of cinema. It is a degenerate and misguided attempt to destroy the real use of the film and cannot be accepted as coming within the true boundaries of the cinema.
3D is very exciting. I love it. I'm a complete convert. Everything for me, from now on, is 3D. I'm completely convinced it's the future of home entertainment, as well as cinema entertainment. I think it's a paradigm shift, in terms of cinema, and those things don't happen very often. The introduction of sound, the introduction of color photography and now 3D have been the big shifts. They happen once every 40 or 50 years, so it's very exciting to be a filmmaker, working while one of them is happening.
I don't really follow television so much, but in the old days there was a certain way TV was, and it wasn't really like cinema. I don't know how many ways it was different or the same, but it was not quite like cinema. Now, cinema can happen on television.
The Last Of England works with image and sound, a language which is nearer to poetry than prose. It tells its story quite happily in silent images, in contrast to a word-bound cinema.
It didn't even occur to me that I could use my strong image in cinema to propagate my political ideas. To me, cinema was cinema and politics was politics.
I feel that cinema can't change society or bring a revolution. I'm also not sure of cinema as a medium of education. Documentaries can be educative, not feature films.
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.
I am extremely proud that our cinema is being recognised in the West. I want Indian cinema to get its dignity, not by giving them the kind of films they expect from us, but by making cinema in a way that carries the legacy of the mainstream masters forward.
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?
I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between.
Music was the only voice of cinema for a very long time before we had sound; it's organically linked to cinema itself.
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.
My sense of cinema improved slowly as I started watching South cinema, got to know that cinema is much appreciated here.
In Hindi cinema, the cabaret dancers were eased out when the heroines imbibed their mannerisms. This could happen in Malayalam cinema too.
I was criticised for making 'Devdas' so ostentatious. But stark and realistic cinema isn't the only real cinema in this country.
Film is pop art. It's not whether it's auteur cinema or not; that's a false distinction. Cinema is cinema.
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