A Quote by Pawel Pawlikowski

I'm not emotionally excited by the power of cinema's tricks anymore. — © Pawel Pawlikowski
I'm not emotionally excited by the power of cinema's tricks anymore.
The girls who come into Tamil cinema today are educated and from well-to-do families. Unlike the actresses of my generation, they do not need cinema for survival. We cannot write a small role - dead cast, as I call it - and expect them to be excited.
Discouragement tricks you into mentally or emotionally dwelling in the very place you want to leave.
What I get really excited about are movies that I connect with emotionally. 'Deliverance' was on TV, and they don't really make movies like that anymore, just simple and scary. The truly scary thing is, 'I'm going to threaten your life, I'm going to threaten the people you love. What are you going to do about it?'
I feel very much ideologically, politically if you like, and emotionally part of the European 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.
There are so many tricks and so much eye candy in cinema. What I love about the classicism of genre is that there's a discipline. I think it's a healthy thing to resist all that candy.
Why do people go to the cinema? What takes them into a darkened room where, for two hours, they watch the play of shadows on a sheet? The search for entertainment? The need for a kind of drug? ..I think that what a person normally goes to the cinema for is time: for time lost or spent or not yet had. He goes there for living experience; for cinema, like no other art, widens, enhances and concentrates a person’s experience-and not only enhances it but makes it longer, significantly longer. That is the power of cinema: ‘stars’, story-lines and entertainment have nothing to do with it.
I have a very simple mantra and it's this: I want to make black cinema with the power, beauty, and alienation of black music. That's my big goal. The larger preoccupation is how do we force cinema to respond to the existential, political, and spiritual dimensions of who we are as a people.
I decided to go to the cinema school because I thought it was a new sort of media. Nowadays, it's not anymore, but in the '50s, cinema had a half century of age. Today it's more than one century. I thought it was a new media, a new way of telling stories.
The power of the story sheds a light and great perspective on well known facts. The power of cinema draws on that collective history.
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.
In case you don't know this, we're not in the '90s anymore. Indie cinema does not reign.
There has been so much power concentrated. There is no leash on that power anymore and Americans face the situation that this power is getting momentum with each passing year with each presidency.
My sense of cinema improved slowly as I started watching South cinema, got to know that cinema is much appreciated here.
I'm not a kid anymore. And I'm excited for all the amazing things to come.
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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