Top 54 Celluloid Quotes & Sayings

Acting is fantastic, but to be able to create a whole world on celluloid is amazing. It's like taking your dreams straight from your head and projecting them onto a screen.

If the director wishes to print it, then you have a series of choices, maybe millions of choices within that minute-and-a-half, or 80 seconds, or 2 minutes or however long or short the take is, you have all those choices committed to celluloid. I find that absolutely thrilling.

Celluloid will be the next decade's black and white.

[ Digital revolution ] only has allowed me to work faster, editing digitally, which I'm doing right now, a film on volcanoes. I can edit almost as fast as I'm thinking, editing with celluloid means always searching for this little reel of film, and number it, and scribble on it with some sort of pens, and gluing it together, and working on a flatbed. It's much, much slower.

The movies are celluloid hemorrhoids. No, worse: They're celluloid Bon Jovi.

Film is the most liberal of arts and, at the same time, it can be a very conservative art. Money that is involved in filmmaking is distributed mostly to men, thus creating a celluloid ceiling for women.

You used to feed a piece of celluloid into an editor. [Digital] is not expensive and that is an advantage, but I must say that I don't love it.

You have to remain strong. That's the kind of filmmaker I want to encourage. Orson Welles was the one who said, you know, you can learn anything you need to know about filmmaking- that's camera, sound, celluloid, video at this point- in four hours. It has nothing to do with anything. It has nothing to do with it... It has to do with what you want to say. If you feel you have something to say, you'll find that way to get it said, on film, and not let anyone or anything chip away at that or tarnish it, because it's something special and precious.

Digital is great; I see the benefits and beauty in both formats. But it doesn't give you that organic quality that celluloid brings.

Narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verité is film in its purest form. You're taking random images and creating meaning out of random images, telling a story, getting meaning, capturing something that's real, that's really happening, and render this celluloid sculpture of this real thing. That's what really separates the power of doc filmmaking from fiction.

Remember, science fiction's always been the kind of first level alert to think about things to come. It's easier for an audience to take warnings from sci-fi without feeling that we're preaching to them. Every science fiction movie I have ever seen, any one that's worth its weight in celluloid, warns us about things that ultimately come true.

A lot of people get very misty-eyed about celluloid. When I think of the time that's wasted in sending it back to the lab and having it developed and brought back, it would make me insane. I love getting my hands on the stuff immediately. That doesn't work for everybody. It just works for me.

The cinema began with a passionate, physical relationship between celluloid and the artists and craftsmen and technicians who handled it, manipulated it, and came to know it the way a lover comes to know every inch of the body of the beloved. No matter where the cinema goes, we cannot afford to lose sight of its beginnings.

In 'Black Coffee' I am not the celluloid avatar of 'Meghe Dhaka Tara' director any more. How can you portray similar characters in two films?

This award is meaningful because it comes from my fellow dealers in celluloid.

Anybody with any sense knows the whole solar system will go up like a celluloid collar by-and-by.

I know that 'Tangerine' is getting a lot of attention for pushing the iFilm, but I am really mourning the death of celluloid.

I'm sad to see celluloid go, there's no doubt. But, you know, nitrate went, by the way, in 1971. If you ever saw a nitrate print of a silent film and then saw an acetate print, you'd see a big difference, but nobody remembers anymore. The acetate print is what we have. Maybe. Now it's digital.

My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.

The tantrums of cloth-headed celluloid idols are deemed fit for grown-up conversation, while silence settles over such a truly important matter as food.

As vocal as some people have been about how emotionally attached they've been to celluloid, I've been equally emotional in my stance that nothing is more valuable than this. Than being able to see the result of your work quickly.

The wonderful thing about 48 fps is the integration of live action and CG elements; that is something I learned from 'The Hobbit.' We are so used to 24 fps and the romance of celluloid but at 48 fps, you cannot deny the existence of these CG creations in the same time frame and space and environment as the live action.

The most expensive habit in the world is celluloid, not heroin, and I need a fix every few years.

No director can ever deliver what's on his or her mind totally, but 'Baahubali-2' is the closest I can get in executing what I had envisaged onto the celluloid.

The wonderful thing about 48 fps is the integration of live action and CG elements; that is something I learned from 'The Hobbit.' We are so used to 24 fps and the romance of celluloid... but at 48 fps, you cannot deny the existence of these CG creations in the same time frame and space and environment as the live action.

Filmmakers don't work for posterity. We create with celluloid and chemical pigments that don't last very long. They fade away. In 200 years there will be nothing left of our work but dust.

I prefer theater, but I love to do films, and I prefer theater primarily because I've done more. I know less about movies. You can't lie in either medium. The wonderful thing is that the camera, just like an audience, is made out of skin - because celluloid is skin.

On the sets of the movie 'Manto,' I found that one of the challenges of embodying real-life stories is the mixed medium of facts and imagination, and how one's collage of experiences colour ones representation on celluloid.

'Celluloid' is set in the 1930s. During the decade, the folk-classical genre seems to have been in vogue. It didn't take much effort to compose because my guru Neyyattinkara Mohanachandran and his guru, M. M. Dandapani Desikar, used to sing this genre.

I'd like to own a movie camera - a proper one, with film, not a digital thing. Celluloid has more character.

Robert Rodriguez, makes a feature film in 35mm celluloid one and a half hours long, and nobody believed him, I think he wrote a book about it and gave all the details of how he spent the money, even making a 35mm celluloid feature film was possible, at least for Rodriguez.

Celluloid heroes never feel any pain.

Using film was so much easier than the digital technology of today. But digital is still at the beginning of what it can be and they'll be fixing all those problems. It's just too complicated - negatives, tinting, flashing - it's a whole new system that takes a lot of time. Of course, it's not as physical. Even the editing. You used to feed a piece of celluloid into an editor. [Digital] is not expensive and that is an advantage, but I must say that I don't love it.

When we die, as when the scenes have been fixed on to celluloid and the scenery is pulled down and burnt — we are phantoms in the memories of our descendants. Then we are ghosts, my dear, then we are myths. But still we are together. We are the past together, we are a distant past. Beneath the dome of the mysterious stars, I still hear your voice.

I don't think that writers or painters or filmmakers function because they have something they particularly want to say. They have something that they feel. And they like the art form; they like words, or the smell of paint, or celluloid and photographic images and working with actors. I don't think that any genuine artist has ever been oriented by some didactic point of view, even if he thought he was.

I was born with this bow tie made of celluloid on my collar.

This is a career about images. It's celluloid; they last for ever. I'm a black woman from America. My people were slaves in America, and even though we're free on paper and in law, I'm not going to allow you to enslave me on film, in celluloid, for all to see.

This metropolitan world, then, is a world where flesh and blood is less real than paper and ink and celluloid.

I love celluloid. I love the look of it.

I'm an advocate of all mediums - it's a larger canvas for us as artists - but we have to keep in mind that celluloid film is what created this wonderful art form, and we have to keep it alive.

I want to be an artist, not... a celluloid aphrodisiac.

My movies are film-paintings - moving portraits captured on celluloid. I'll layer that with sound to create a unique mood -- like if the Mona Lisa opened her mouth, and there would be a wind, and she'd turn back and smile. It would be strange and beautiful.

There are some stories - not even stories, some feelings - that you can't accomplish in cinema without using celluloid.

I'd always loved movies, but it wasn't some sort of desperate love of celluloid. It was literally like, "I want to write things, and I want people to see them more."

I love that we've chipped away at the celluloid closet and have wonderful programs that feature gay and lesbian characters in really rich, fully developed ways.

As a career, the business of an orthodox preacher is about as successful as that of a celluloid dog chasing an asbestos cat through hell.

There was a time when the industry would typecast actors. It still continues to an extent on the celluloid but with the digital medium coming to the fore, the actors are finding equal status with the stars.

Otherwise [digital revolution] hasn't changed my way of filmmaking, I'm not nostalgic in postulating we should still make films on celluloid. I love celluloid but I don't need to continue on celluloid.

I want to be an artist, not an erotic freak. I don’t want to be sold to the public as a celluloid aphrodisiac.

It doesn't matter whether you shoot on celluloid or on digital, you better make a good film.

I always loved celluloid cameras in the early days that were sturdy and reliable. Even under tropical conditions and downpour of rain, it would still work.

Ecstasy is not really part of the scene we can do on celluloid.

I like celluloid, I like film, I like the way that when a movie is projected it sort of breathes a little in the gate. That's the magic of it to me.

I am a fan of movies and there is something about watching film that is burned into celluloid for all time that is now a piece of history. You go watch, being a fan of classic films and my children and their children are going to be watching these movies.