A Quote by Steven Rodney McQueen

My influences come from real life. I'm not interested in cinema for cinema's sake. I'm interested in life - what one does and how one interacts. — © Steven Rodney McQueen
My influences come from real life. I'm not interested in cinema for cinema's sake. I'm interested in life - what one does and how one interacts.
I'm very interested in dance, and I'm very interested in how people express themselves through movement. And of course, cinema is a kinetic art form. It's almost the point of cinema - it's time-based and movement-based.
I'm not interested in gothic storytelling or the horrific for its own sake. I'm always interested in it as a way of getting at larger ideas or important meaning. And you don't see that as much as you'd think in the history of horror cinema. A lot of times, it's scariness for scariness' own sake.
I have a kid and a husband and my family, and it's important to live the real life. I don't want to offer my whole life to cinema. It's only cinema.
In a film festival, people come to watch because they are interested in cinema. It's not like watching a premiere show or being in any cinema hall, where you are not with like-minded people.
The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn't.
I'm inspired heavily by film influences - David Lynch's Blue Velvet, Federico Fellini, Alfred Hitchcock, Pedro Almodóvar, and what I see in the cinema - so there is a linking, an interweaving between memory, cinema and contemporary life, which the women in my pictures encapsulate.
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.
MORE CONSISTENTLY THAN EVER I WAS TRYING TO MAKE PEOPLE BELIEVE THAT CINEMA AS AN INSTRUMENT OF ART HAS ITS OWN POSSIBILITIES WHICH ARE EQUAL TO THOSE OF PROSE. I WANTED TO DEMONSTRATE HOW CINEMA IS ABLE TO OBSERVE LIFE, WITHOUT INTERFERING, CRUDELY OR OBVIOUSLY, WITH ITS CONTINUITY. FOR THAT IS WHERE I SEE THE POETIC ESSENCE OF CINEMA.
I am not interested in making didactic polemical statements. That is not the way I want to make films. There is a place for polemics, but I don't think that it is in fictional cinema. Fictional cinema works subtly and deeply.
Cinema is empathy machinery, and we multiply our life experience through cinema. When it is good cinema, it almost counts as a personal experience.
After I left college, I went to work at the Royal Opera House in London, which became a real catalyst for me because it made me realize that I was interested in cinema and in the way life is thrust at you. So I started making films.
Good cinema is what we can believe and bad cinema is what we can't believe. What you see and believe in is very much what I'm interested in.
Life is bigger than cinema. Cinema is just a part of life, so I never take success or failure seriously.
I'm always interested in relationships between women. I'm always interested in how women relate to each other, whether it's a family relationship or it's a friend relationship. That's such uncharted territory in cinema.
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?
Theatre and cinema have been major influences in my life.
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