A Quote by Whit Stillman

The cinema I particularly love is the cinema of the golden age of the studios in the 1930s. One of the really nice things about it was the way teams of actors and directors and crew people worked together again and again.
It's the golden age of French cinema again but it's because Sarkozy had the guts to push through copyright law.
Practically everybody I've ever worked with, I'd like to work with again. I had a great time with the people that I've worked with, and the directors, and a lot of the casts. There's really nobody where you'd say, "Oh, I got X, Y, and zed again! Gahhh, no!" It really brings a smile to my face, because in 95 percent of the cases, people I've worked with, I'd be thrilled to work with again.
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.
We can't keep thinking in a limited way about what cinema is. We still don't know what cinema is. Maybe cinema could only really apply to the past or the first 100 years, when people actually went to a theater to see a film, you see?
I've worked with some actors who have such thick skins and think they are so extraordinary. I'll think, 'Have you stopped learning?' They stop listening to directors or other actors and do the same thing again and again.
'The Room' was such a specific piece of cinema that worked because it was so sincere. That's the thing that's great about 'The Room': it's something that will never happen in the same way again.
I think that the reason you keep hearing that it's the golden age of TV is because original storytelling is happening all the time in that medium, and people are hungry for it. And I'm as guilty as anyone for being part of an industry that is capitalizing on existing stories, sequels, these things that we are seeing again and again and again.
I connect much more with theatre actors than with cinema actors - insofar as you can speak of 'cinema actors' in Mexico, because there isn't a big film industry.
I have been extremely lucky to have worked with directors and actors that have made a fabulous impact in Indian cinema and have received some of the nicest compliments ever.
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.
The cinema that I make is a cinema about people, emotion, humanity and passion. It's not just about what they struggle through, but what they live for. That's what I love. The music they love, the people they love, the clothing, the hair and the life that they love
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?
What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. I was in Italy, but completely in love with the nouvelle vague movement, and directors like Godard, Truffaut, Demy. 'The Dreamers' was a total homage to cinema and that love for it.
When actors try new things, cinema also gains a lot from it. At the same time, the nature of the business is such that if something works, people offer the same thing to you over and over again.
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.
For female directors, there's a whole other set of things we have to think about, particularly when we are casting men, because there are some actors who have never been directed by a woman. Crew members, too.
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