A Quote by Celine Sciamma

My film-making is the privilege of French cinema. I would have to do things totally differently elsewhere. But I think I could learn from that and have fun being part of a bigger collective.
I think on both sides of the pond, there are pros and cons to TV and film, and I think that there are things the British people can learn from the Americans and things the Americans can probably learn from us when it comes to the acting industry. But the main thing here in the USA is everything is just a hell of a lot bigger. The sets are bigger, the casts are bigger, the crews are bigger.
The French view is really one of balance, I think... What French women would tell me over and over is, it's very important that no part of your life - not being a mom, not being a worker, not being a wife - overwhelms the other part.
When I watched Michel Hazanavicius' 2011 French film 'The Artist', I was spellbound and wondered if such an attempt would ever be made in India. Dialogues and songs being such an important part of our movie making culture.
I think you do have to attend to the sort of core values of film, which is that the audience wants to have a relationship with the characters, they want to understand what's going on there. There are certain things that comics can have a little bit more freedom in then when you're asking an audience to engage in it as a piece of cinema, but I do feel like the canvas is much bigger and wider and that we're being invited and frankly challenged to take risks, to be a little bit different. And that's fun, that's exciting.
There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.
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.
If I had stayed at City I think I would have been someone who simply filled in when I was required. I'd rather go elsewhere and play regularly. Be a bigger part of a smaller team.
My film is in French. It's not something folkloric. It's who we are. There's this tension about immigrants coming in. Will they learn French? Will they adapt? In this film, I'm on the reverse side because Monsieur Lazhar comes from a society where French is also the second language.
I would love to play just an all out bad guy who has fun being malicious. It would be totally unexpected, and that's what would make it exciting. Plus, bad guys don't see themselves as bad guys, so you could have fun with that.
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.
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.
That's grossing money for other people that has a multiplying factor, but the government doesn't see that. It doesn't see that making a film or culture or art is part of our economy. But the main reason is this, it's part of our identity. I think cinema is the memory and the imagination of the country. Take the memory and imagination out of an individual and he's stops being an individual.
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 demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between.
Everyone has to learn to think differently, bigger, to open to possibilities.
I do believe that a film like Ten could never have been made with a 35mm camera. The first part of the film lasts 17 minutes, and by the end of that part, the kid has totally forgotten the camera.
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