Fantomes Cinema Quotes

Bollywood is a cinema of vibrant contradictions, which works when it seems it shouldn't. ~ Gurinder Chadha

It may be that we exist and cease to exist in alternations, like the minute dots in some forms of toned printing or the succession of pictures on a cinema film. It may be that reality is an illusion of movement in an eternal, static, multidimensional universe. We may be only a story written on the ground of the inconceivable; the pattern on a rug beneath the feet of the incomprehensible. ~ H.G.Wells

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. ~ Jean-Pierre Jeunet

I think "Avatar" is kind of a unique category where people are enjoying the unique theatrical experience even though they may have seen it on the small screen. They want to have that immersive, transportive experience. "2001: A Space Odyssey" played for three years at the Loews cinema in Toronto. I remember that. It just kept playing. People wanted to return to that experience. That may not be the best example because I think "2001" took 25 years to break even. ~ James Cameron

Cinema is a kind of pan-art. It can use, incorporate, engulf virtually any other art: the novel, poetry, theater, painting, sculpture, dance, music, architecture. Unlike opera, which is a (virtually) frozen art form, the cinema is and has been a fruitfully conservative medium of ideas and styles of emotions. ~ Susan Sontag

It was during this period of work that Varda began to conceive a more theoretical approach to her art. She says, "[My work] deals with this question, 'What is cinema?' through how I found specific cinematic ways of telling what I was telling. I could have told you the same things that are in the film by just talking to you for six hours. But instead I found shapes" (Warwick). To give a name to her very particular and personal search for a cinematic language, Varda coined the term cinécriture. As she explains to Jean Decock: "When you write a musical score, someone else can play it, it's a sign. When an architect draws up a detailed floor plan, anyone can build his house. But for me, there's no way I could write a scenario that someone else could shoot, since the scenario doesn't represent the writing of the film." Later she would clarify, "The cutting, the movement, the points-of-view, the rhythm of filming and editing have been felt and considered in the way a writer chooses the depth of meaning of sentences, the type of words, number of adverbs, paragraphs, asides, chapters which advance the story or break its flow, etc. In writing its called style. In the cinema, style is cinécriture." (Varda par Agnès [1994], 14). ~ T. Jefferson Kline

Take a drawing by Matisse, a simple curve of a leg or a shoulder. Is there a basis, at the beginning when he starts drawing his curve? There isn't. This is what I'm trying to say. And that's what comprises the originality of Max Ophuls, which he acquired a little bit at a time, because in Liebelei, in Letter from an Unknown Woman, in his American films, it's not there. It's a freedom that is earned and that is found, that isn't applied. On a basic level, it's neither better nor worse as a way of making a film. But there's something extremely original that we found so satisfying back in the day and that continues to satisfy me now … There's a kind of pure cinema of that era – you might even call it experimental – which has disappeared. There's no literature…not that there's no text or dialogue, but there's no pre-literature.

(Jean-Luc Godard in conversation with Marcel Ophuls, 2002) ~ Jean-Luc Godard

Jason took me by the shoulders - not out of anger, or in a clinging way, but as a brother. "Promise me one thing. Whatever happens, when you get back to Olympus, when you're a god again, remember. Remember what it's like to be human."
A few weeks ago, I would have scoffed. Why would I want to remember any of this?
At best, if I were lucky enough to reclaim my divine throne, I would recall this wretched experience like a scary B-movie that had finally ended. I would walk out of the cinema into the sunlight, thinking Phew! Glad that's over.
Now, however, I had some inkling of what Jason meant. I had learned a lot about human frailty and human strength. I felt…different toward mortals, having been one of them. If nothing else, it would provide me with some excellent inspiration for new song lyrics! ~ Rick Riordan

I am young enough to try my hands at all kinds of cinema. ~ Ranbir Kapoor

Cinema, which is influenced by every single part of life, is direct and reaches you immediately. And writing - the best writing is complex ideas communicated concisely. And music - if it's a good tune, make sure people can bloody hear it. ~ Alex Kapranos

Cinema isn't just a good medium for translating graphic novels. It's specifically a good medium for superheroes. On a fundamental, emotional level, superheroes, whether in print or on film, serve the same function for their audience as Golden Age movie stars did for theirs: they create glamour. ~ Virginia Postrel

In all of its operations, cinema ceaselessly strives, and fails, to make present a world hopelessly beyond grasp. For this reason cinema is, in its very nature, a nihilistic medium. ~ John Marmysz

Architecture exists, like cinema, in the dimension of time and movement ~ Jean Nouvel

Borges's extreme architecture attempts to visualize the universe by assigning to every object real and unreal, now and yet to come, a code or sign, a corresponding figure within the Library. It seeks to render totality visible, to effect a total visibility and visuality. The Library of Babel is a view of the universe inside and out, an X-ray of the universe and universal X-ray, seen from within and without. It is a representation of everywhere: a perfect duplication of the universe. And of you: universal. An endless and eternal cinema, an imaginary archive that extends into the universe until it is indistinguishable from it, until you are indistinguishable from the universe. ~ Akira Mizuta Lippit

Cinema is incredibly concise. ~ Yann Martel

I think working as an assistant was a part of knowing people who like cinema, and to learn from a movie, you have to watch it. ~ Claire Denis

I initially studied literature [in France], and then I went to cinema school. I discovered the Cinematheque, and saw not only action movies and westerns, but also lots of serious movies. ~ Costa-Gavras

I don't want all of American cinema to be big cartoons that are just made to be digested by the entire world. ~ Alexander Payne

And then the darkness gives way to white neon. An Art Deco font, burning into the night, announces our arrival at the CINEMA LE CHAMPO. The letters dwarf me. Cinema. Has there ever been a more beautiful word? My heart soars as we pass the colorful film posters and walk through the gleaming glass doors. The lobby is smaller than what I'm used to, and though it's missing the tang of artificially buttered popcorn, there's something in the air I recognize, something both musty and comforting. ~ Stephanie Perkins

If cinema is a woman then certainly there are many shores. ~ Gerard Depardieu

Cinema is all about going back from shadow to light and back and forth: cinema is a place of transgression. ~ Bruno Dumont

Strangers used to gather together at the cinema and sit together in the dark, like Ancient Greeks participating in the mysteries, dreaming the same dream in unison. ~ Angela Carter

And my generation in Brazil was influenced by Cinema Novo. So we're echoing what's been done way in the past. ~ Walter Salles

My thinking was that today's spectator is so well-versed in film language that all theories about suspense, as argued by Dreyer and Hitchcock, on what makes you scared in cinema, can be ditched. It's the spectator, finally, who's going to construct the menace and the fear. ~ Bruno Dumont

I was always intrigued with European cinema, and hated most American cinema. I didn't like the one, two, three - boom! style, with a neat and tidy ending. That was never my scene. ~ Lee Daniels

It's important for cinema to keep on evolving: for people, and not only teenagers, to be able to go to a movie that has huge epic scope but has an intellectual and real story to tell. ~ Baltasar Kormakur

I knew that this was the movie in which a lot of the cinema version of Burton-esque first started. So, I knew that there were things that were hugely important to him for it, but it didn't really feel that different than working on any other of these projects. ~ John August

Actually, Pretty in Pink's Steff might be the most deliciously contemptible rich douchebag in all of cinema history. ~ Jen Chaney

I like my cinema gritty, I like my eggs gritty. ~ David Letterman

I haven't said it yet, but it seemed implied, that cinema for me was the American one, current Hollywood productions. "My" period goes roughly from The Lives of a Bengal Lancer (Henry Hathaway, 1935) with Gary Cooper and Mutiny on the Bounty (Frank Lloyd, 1935) with Charles Laughton and Clark Gable, to the death of Jean Harlow (which I relived many years later like the death of Marilyn Monroe, in an era more aware of the neurotic power of every symbol), with lots of comedies in between, the mystery-romances with Myrna Loy and William Powell and the dog Asta, the musicals of Fred Astaire and Ginger Rogers, the crime pictures of Chinese detective Charlie Chan and the horror films of Boris Karloff. I didn't remember the names of the directors as well as the names of the actors, except for a few like Frank Capra, Gregory La Cava, and Frank Borzage, who represented the poor rather than the millionaires, usually with Spencer Tracy: they were the good-natured directors from the Roosevelt era; I learned this later; back then I consumed everything without distinguishing between them too much. American cinema in that moment consisted of a collection of actors' faces without equal before or after (at least it seemed that way to me) and the adventures were simple mechanisms to get these faces together (sweethearts, character actors, extras) in different combinations. ~ Italo Calvino

I wanted to make a cinema of ideas, not plots, and to use the same aesthetics as painting, which has always paid great attention to formal devices of structure, composition and framing. ~ Peter Greenaway

When I discovered European filmmakers, it affected me so deeply. It redefined what cinema could be. I mean, 'Blow-Up' ends with a dead body and mimes playing tennis. What? ~ Paul Haggis

What makes cinema so attractive, so fascinating is that it's not just a one plus one process. It's a chemistry between sounds, words, ideas and image. ~ Wong Kar-Wai

I submit that the real reason we criticized and disliked Lynch's Laura's muddy bothness is that it required of us an empathetic confrontation with the exact same muddy bothness in ourselves and our intimates that makes the real world of moral selves so tense and uncomfortable, a bothness we go to the movies to get a couple hours' fucking relief from. ~ David Foster Wallace

Quinn thought for a moment and then he said, "I don't have any papers."

True enough, thought Whitfield, and for that matter you don't have any pants either, and so forth. And not much brains left, is my feeling, and I must say a sad shock you are to me and my cinema knowledge of the American gangster. ~ Peter Rabe

Anybody who comes to the cinema is bringing they're whole sexual history, their literary history, their movie literacy, their culture, their language, their religion, whatever they've got. I can't possibly manipulate all of that, nor do I want to. ~ David Cronenberg

[Luchino] Visconti came from the Milanese branch of one of Europe's oldest families, whose roots can be traced back to the early 13th century. He might have appeared as a character in one of his own films about the aristocracy, such as Senso or The Leopard – that's the life he was born into. But at a certain point in the 1930s, his passion for theatre, opera and the cinema set him on a radically different path.

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He has often been referred to as a great political artist, but that's too limiting and frozen a description. His sense of European history was vast and he knew the lives of the rich and powerful first hand – but at a certain point he became drawn to understand the other side of life, that of the poor and powerless. He had a strong sense of the particular manner in which absolutely everyone, from the Sicilian fishermen in his neorealist classic La Terra Trema to the Venetian aristocrats in Senso, was affected by the grand movements of history. ~ Martin Scorsese