A Quote by Rod Lurie

I loved going to the movies, especially when I was a teenager in the seventies. How couldn't you in what was perhaps the greatest era of auteur cinema? — © Rod Lurie
I loved going to the movies, especially when I was a teenager in the seventies. How couldn't you in what was perhaps the greatest era of auteur cinema?
Film is pop art. It's not whether it's auteur cinema or not; that's a false distinction. Cinema is cinema.
I loved movies as a teenager and saw as much American cinema as I could, but I hated the English films of the early 60s and had absolutely no point of identification with them.
I loved movies as a teenager and saw as much American cinema as I could, but I hated the English films of the early '60s and had absolutely no point of identification with them.
I believe we have two ideas about how movies are made in our heads. Idealizations. Platonic ideals. One of them is of a movie that is completely uncontrolled, and another is a movie that is completely controlled. The auteur theory vs. cinéma vérité.
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 was a teenager in the '80s - and maybe I'm wrong about this - but it seemed like a bad era for movies that were scary. It was really the height of movies that were disgusting.
When I was a teenager, I thought I wanted to be an actor. I worked on an Indian soap opera that was my first exposure to production. But I quickly became disillusioned by acting and seeing that in the movies I loved and the TV I loved, no one looked like me. There weren't going to be any leading roles that would be interested in casting someone with my face.
Seventies cinema - 'Taxi Driver,' 'Deliverance' - that was the best period of American cinema.
Cinema d'auteur, cinema about people, about emotions. About la difficulté d'être, the difficulty of being, existential problems. That's what the nouvelle vague is. The early '60s was all about that.
In the theater you can chain a blue-assed baboon in the stalls and with a good script, good actors, and a good set you'd have what is called a production. With the cinema someone has to know about lenses and fine things. I have no time for the "auteur de cinema." To me, it's meaningless.
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.
As the acting class was going on, I just realized I just knew more about cinema than the other people in the class. I cared about cinema and they cared about themselves. But two, was actually at a certain point I just realized that I love movies too much to simply appear in them. I wanted the movies to be my movies.
My mother loved movies, and I loved movies like she loved movies. So I wanted to do that. I'd send away for movie magazines - the old thing of everybody wanting to be a star or whatever.
I love cinema. It is the most important thing to me. Life is cinema. It has been this way since I was a child of about 14, and I was going every day to see the movies.
I like action movies, even though I think action movies are kind of derided now. But there is something extraordinary about action movies, which is absolutely linked to the invention of cinema and what cinema is and why we love it.
For me, cinema is very important. I grew up with television; then, as a teenager, you discover cinema.
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