A Quote by Wim Wenders
Of course the French are making very credible movies and it is still one of the greatest nations in terms of world cinema but the real problem is the decay in film criticism.
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The film The Conquest will be seen on many different levels and the American point of view is always more technical. The French are less technical - it's 'I like it, or I don't like it.' I hope that this film can have a life in the U.S. - it's the grand country of cinema. I grew up with Hollywood movies, so for a French director to have a film distributed in the U.S. is a real opportunity.
Many French directors, having now realised there was no more real criticism, that the standards of the past have gone, are very offended about the quality of film criticism.
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.
I came from a very avant-garde documentary kind of film making world. I like cinema verité, documentaries. I liked non-story, non-character tone poems. And that's the film making that I was interested in.
I want viewers want to talk about The Conquest. I want the dialogue to start after the movie. The cinema is there to leave a trace. I hope my film leaves a trace and that it will open a door for French cinema and that tomorrow other directors will make political movies. The job of a filmmaker today is to talk about the world surrounding him and, through his movies, to both entertain and raise questions about modern society.
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.
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.
I was a young film student around the time of the new wave in film in the 1970s; old Hollywood was naff and over. For me, as a film student, I was going to see French and Italian cinema; American cinema was 'Easy Rider' and 'Taxi Driver.' Everything was gritty.
There are many who criticise the United Nations. And those of us who know this institution well know that it is not immune from criticism. But those who argue against the United Nations advance no credible argument as to what should replace it. Whatever its imperfections, the United Nations represents a necessary democracy of states.
For me the greatest source of income is still movies. Nothing - stocks, financial speculation, real estate speculation or businesses - makes more money for me than making movies.
I don't have a very high opinion, actually, of the world of criticism - or the practice of criticism. I think I admire art criticism, criticism of painting and sculpture, far more than I do that of say films and books, literary or film criticism. But I don't much like the practice. I think there are an awful lot of bad people in it.
We have before us the opportunity to forge for ourselves and for future generations a new world order, a world where the rule of law, not the law of the jungle, governs the conduct of nations. When we are successful, and we will be, we have a real chance at this new world order, an order in which a credible United Nations can use its peacekeeping role to fulfill the promise and vision of the U.N.'s founders.
It’s funny, I started by making fake American movies, The Transporter and stuff like that. I was shooting in France, but everything was in English. But then afterwards, I was looking at real French movies like the Jacques Audiard movies.
It's funny, I started by making fake American movies, 'The Transporter' and stuff like that. I was shooting in France, but everything was in English. But then afterwards, I was looking at real French movies like the Jacques Audiard movies.
The better a novel is, in literary terms, the more you can't be faithful. The novel succeeds on terms exclusive to literature. A good film succeeds on terms exclusive to the cinema. That's why so many bad novels can become good movies.
When I was a young man, my friends and I and all of us in New York were very influenced by French cinema. French cinema played an enormous influence on those of us who wanted to be filmmakers.
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