Top 1200 French Cinema Quotes & Sayings - Page 2

Blade Runner is one of my favorite films. But, so many thing influenced me that aren't science fiction because they were just good drama. I grew up watching a lot of French cinema. I was in love with The English Patient, and movies that are very romantic in nature and have a positive message. That's a large part of my fingerprint.

Indian cinema is no more limited to audiences in India. We have viewers all around the world, and hence, understanding the global perspective is a must. Cinema Beyond Boundaries would get the viewers and the filmmakers together and would help us in serving them with good quality cinema.

My father was Greek, but he turned French during the war, and my mother was French. So I'm French, but I have Greek blood.

I am the last person who has any judgement about any kind of cinema, least of all commercial cinema because I am a product of commercial cinema.

Every year there's a jury at the Cannes Film Festival. Getting on the jury is very competitive in France. Not because the French love cinema, but because they love to judge.

Cinema is not Bible writing. It doesn't teach you morals, good values to live. Cinema is not meant for that. If you're looking at cinema that it'll tell you good values then you're mistaken.

We think of Netflix as a great personalization machine. It understands how you love French midcentury cinema and British murder mysteries, so examples of those pop up in your personalization engine. But you're also getting fed a lot of Netflix content.

My mother and stepfather were documentary filmmakers and, of course, had a very healthy Scandinavian mentality. When it came to cinema, my mother was very obsessed with the French New Wave. That was her generation.

I was criticised for making 'Devdas' so ostentatious. But stark and realistic cinema isn't the only real cinema in this country.

For me, cinema is very important. I grew up with television; then, as a teenager, you discover cinema.

I grew up understanding cinema from early on and was soon cinema-literate.

In the province of Quebec where I come from, we speak French and the only cosmopolitan city is Montreal. Every time we tackle the subject of immigration and racial tension, it's an issue that concerns Montreal. Also, in Quebec, we have this added issue that we want people to speak French, because French is always on the verge of disappearing to some extent. I work, play and do everything in French.

I was this classic film school snob who thought mainstream cinema was synonymous with bad cinema.

Cinema is a slice of reality. You have school and college kids being intimate and marriage is not even in question and that is what they show in cinema.

Cinema is diversifying; there's room for every kind of cinema today.

Some people feel that the purpose of cinema is entertainment - which in itself is a healthy enough goal, provided you define what constitutes entertainment. But I come from a family where I grew up believing that cinema - art - should be used as an instrument for change and that's the kind of cinema I've largely done and been attracted to.

Cinema is capitalism in its purest form.... There is only one solution - turn one's back on American cinema.

The image foreigners have of French cuisine is fattening and very fancy food. But it's not true - French food isn't just rich. The word "healthy" doesn't exist in French. We have many, many words, but not that one. To me, healthy means paying close attention to feeding people.

I believe there's only good cinema and bad cinema.

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.

To me, cinema is cinema. Cinema is one big tree with many branches. The same as literature. In literature, you don't just say, 'Oh, I bought some literature.' No, you say, 'I bought a novel' by so-and-so, or a book of essays by so-and-so.

Cinema is not truth. Even when you make documentary films, you can choose to show this shot and not the other shot - this side and not the other side. In cinema, there's one truth - not 'the truth.' It's only 'my point of view.' Cinema is powerful because of that.

What makes international cinema so interesting is that each territory has its own sensibility. When you look at an Indian or French film, there's a certain flavor. And even though the language is different, if the film is successful, it has something very common and understandable.

I think what I loved in cinema - and what I mean by cinema is not just films, but proper, classical cinema - are the extraordinary moments that can occur on screen. At the same time, I do feel that cinema and theater feed each other. I feel like you can do close-up on stage and you can do something very bold and highly characterized - and, dare I say, theatrical - on camera. I think the cameras and the viewpoints shift depending on the intensity and integrity of your intention and focus on that.

This is one of the things I don't like so much about French cinema - we have tendency to concentrate on actors and dialogue and we don't care so much about the visual aspect. I love when you use all the elements at your disposal.

Now I’m really glad that I speak French, because, let’s face it, girls dig it when a guy speaks French. They call it the language of love, and that ain’t no coincidence. Plus, I love my French fans! Très jolie!

The third line of cinema today is neither art nor commercial but categorized as good and bad cinema. I think two films - 'Main, Meri patni aur Who' and 'Main Madhuri Dixit Banna Chahti Hoon' were the base films for this new line of cinema.

Most cinema is not about images but text. Why on earth have we based cinema on text? Why can't we break that umbilical cord? Why do we have to pollute cinema?

French women have been made beautiful by the French people - they're very aware of their bodies, the way they move and speak, they're very confident of their sexuality. French society's made them like that.

I've always believed that true cinema is cinema of the imagination.

There's a fashion, or maybe you could call it a necessity, in French cinema to make social films, which is to say films in which the characters are defined by their social context.

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.

I decided that I have certain taste in cinema and I will take it forward. I know there is an audience for such cinema.

The Germans were much more graphical. The expressionism is much more than cinema. It was a movement with artists, painters, music and architecture, so it's really graphic and visual. And the French were something else.

Written and directed by French showman Georges Melies, 'Le Voyage' features one of the most indelible images in cinema history: the wounded Man in the Moon bleeding like a particularly runny Brie, grimacing in pain with a space capsule protruding from his right eye.

The reason I am in cinema is because of the passion I have for cinema.

Seventies cinema - 'Taxi Driver,' 'Deliverance' - that was the best period of American cinema.

I know there is one kind of cinema that exists in the world, that is good or bad cinema.

Any cinema has to be entertaining. Boring cinema won't work. If you want to make one, then screen it for free on TV.

I'm not coming from film school, I learned cinema in the cinema watching films.

Napoleon is pure cinema, and cinema was designed for sharing.

As early as 1681-82, a group of Abenakis had accompanied the French explorer La Salle on his historic voyage down the Mississippi to the Gulf of Mexico. By 1700, many Abenaki and Iroquois Indians spoke French and had some European education, and some were literate in French and Latin.

'Napoleon' is pure cinema, and cinema was designed for sharing.

It didn't even occur to me that I could use my strong image in cinema to propagate my political ideas. To me, cinema was cinema and politics was politics.

For people to understand, you can't speak 'cinema.' Cinema doesn't have alphabets, so you have to go to the local language. Even in England, if they make a movie in London they have to make it in the Cockney accent, they can't make a film with the English spoken in the BBC. So cinema has to be realistic to the area that it is set in.

What came out of 'Ocean's Twelve' is actually great because you do one 'Ocean's Twelve,' and you're more known around the world than if you did 20 years in the French cinema industry.

Wherever you've got a migrant culture, the food evolves and in New Orleans it's that French and Spanish influence. So you get gumbo, which came out of French bouillabaisse, jambalaya - a version of paella - and the boudin sausage, which is like the French boudin.

I think American cinema, particularly, has become so disposable. It's not even cinema, It's just moviemaking.

Nadunisi Naaigal' is new age Tamil cinema. I have tried to break the rules of regular cinema with this film.

French women have been made beautiful by the French people - they're very aware of their bodies, the way they move and speak, they're very confident of their sexuality. French society's made them like that

With 'The Conjuring,' I really wanted to create classical cinema-style film-making, pure cinema as it were.

It's a common mistake for vacationing Americans to assume that everyone around them is French and therefore speaks no English whatsoever. [...] An experienced traveler could have told by looking at my shoes that I wasn't French. And even if I were French, it's not as if English is some mysterious tribal dialect spoken only by anthropologists and a small population of cannibals.

Realism is always subjective in film. There's no such thing as cinema verite. The only true cinema verite would be what Andy Warhol did with his film about the Empire State Building - eight hours or so from one angle, and even then it's not really cinema verite, because you aren't actually there.

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.

Let me be very frank. I make films keeping within the mainstream and my cinema is popular cinema. I love it this way.

Personally, I don't give a toss about French viewers. I make films for foreigners - it's a bit like Ken Loach, who's not very popular in England but has had a lot of success in France. Cinema is always an experience in a foreign body.

The French fried potato has become an inescapable horror in almost every public eating place in the country. 'French fries', say the menus, but they are not French fries any longer. They are a furry-textured substance with the taste of plastic wood.

Cinema is not just a medium of entertainment. Yes, it should entertain, but cinema is made to convey a message, to say something.

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'm a huge fan of world cinema, because each country uses cinema in a very individual way.