A Quote by Paul W. S. Anderson
I grew up in England, and at the time, cinema was very heavy arthouse cinema, and there was no one making movies that were designed to be in multiplexes.
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For me, cinema is very important. I grew up with television; then, as a teenager, you discover cinema.
I'm a big fan of silent cinema and I think that before I got into the canon of European arthouse cinema, the first interesting films I liked as a kid were German expressionist silent films.
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.
Well, I think by and large, certainly in terms of cinema, American culture dominates our cinema, mainly in the films that are shown in the multiplexes but also in the way that it has a magnetic effect on British films.
I grew up understanding cinema from early on and was soon cinema-literate.
I think what I loved in cinema - and what I mean by cinema is not just films, but proper, classical cinema - are the extraordinary moments that can occur on screen. At the same time, I do feel that cinema and theater feed each other. I feel like you can do close-up on stage and you can do something very bold and highly characterized - and, dare I say, theatrical - on camera. I think the cameras and the viewpoints shift depending on the intensity and integrity of your intention and focus on that.
For me, there was no great myth around the movies when I was a young child. My father was very simple about the whole thing. He did not consider cinema an art. Cinema was entertainment. Literature and music were art.
Because I was a kid from north of England, the only films I had access to was not alternative cinema, which in those days would be foreign cinema; I would be looking at all the Hollywood movies that arrived at my High Street.
Some people feel that the purpose of cinema is entertainment - which in itself is a healthy enough goal, provided you define what constitutes entertainment. But I come from a family where I grew up believing that cinema - art - should be used as an instrument for change and that's the kind of cinema I've largely done and been attracted to.
With 'The Conjuring,' I really wanted to create classical cinema-style film-making, pure cinema as it were.
If you're going to break cinema, film, and movies apart, very rarely to you get the opportunity to even think that you've been a part of cinema.
For people to understand, you can't speak 'cinema.' Cinema doesn't have alphabets, so you have to go to the local language. Even in England, if they make a movie in London they have to make it in the Cockney accent, they can't make a film with the English spoken in the BBC. So cinema has to be realistic to the area that it is set in.
I did two movies that were arthouse movies; they were critically successful but made no money at all... but after making those movies, I thought, 'I wouldn't watch my own movies when I was 16, and my buddies where I came from wouldn't watch my movies, because they were boring.'
'Napoleon' is pure cinema, and cinema was designed for sharing.
Napoleon is pure cinema, and cinema was designed for sharing.
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.
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