I was at the premiere of 'Prisoners,' and I heard two thousand people scream at the same time. I turned to my wife and said, 'I love cinema!' It's the sharing of emotions together, and it's collective. It's one of the last communions we have.
I felt from time to time that shooting live music is the most purely cinematic thing you can do. Ideally, the cinema is becoming one with the music. There is little artifice involved. There's no acting. I love it.
I love films where you go into the cinema and loosen the edges of yourself and you hopefully enter into the world of the film. You're watching something unfold before you. I prefer the idea of wonder or intense wonder over shock or something.
'The Lunchbox' is the kind of cinema that is true to its word and not cluttered or corrupted by some of the mainstream pre-requisites. I love the way I make movies, but there are certain stories that need to be told in a certain way, and 'The Lunchbo...
The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy.
The film industry has been extremely welcoming to me. It's an industry which is biased to what they think is talent. If they think you can bring value to cinema, they'll support you.
Personally, I prefer contemporary films, but the market calls for more period choices, especially since China opened up a cinema market in Hong Kong. There's a lot of restriction for contemporary films simply because of subject matter.
I've always been a fan of Korean cinema but never really pursued it, as I wanted to pave my way here in the States. I figured, once I established myself here, Korea might take notice. And it did.
On Being John Malkovich and the cinema of the absurd, I do enjoy it. I wish there were more like it. The very fact that there can't be more like it is one of the reasons it's admirable.
I'm not a Little Englander. Historically, British people have always been travellers. I look in the world as one place. You have to think in a global sense. Cinema is a global endeavour. My roots are in England but my endeavours are worldwide.
When I was seven, I wanted to be Esther Williams. I was drummed out of Brownies because I snuck off to the cinema to watch an Esther Williams festival - my greatest wish if I get to Hollywood is to meet her.
I've never done a film before where every single person in the audience knows the ending. I mean suspense, twists are almost impossible these days. People are blogging your endings from their cinema seats.
I think part of the reason ideas haven't come in is that the world of cinema is changing so drastically, and in a weird way, feature films I think have become cheap. Everything is kind of throwaway. It's experienced and then forgotten.
I'm an optimist - that's why I try to invent different systems; otherwise, I may as well stop right now. Sometimes I get the feeling the French cinema holds on tightly to what exists already.
I'd wanted to be a writer and when I came back to New York worked as a musician too, but I found my writing starting to get more and more referential to cinema.
To the Parisians, and especially to the children, all Americans are now 'heros du cinema.' This is particularly disconcerting to sensitive war correspondents, if any, aware, as they are, that these innocent thanks belong to those American combat troo...
I'm in the early stages of a film called 'Freezing Time' about Eadweard Muybridge, the Victorian photographer who was really the forefather of cinema. Digital animators still treat his images like the Bible. He was a very obsessed man.
Opera was the cinema of its time, so to bring back that popular appeal, you just need to unleash its visceral immediacy and excitement. Most productions don't manage that - but when an opera does do it, you never forget it.
Marcel: [in French; subtitled] What are we talking about? Shosanna Dreyfus: [in French] Filling the cinema with Nazis and burning it to the ground. Marcel: I'm not talking about that. You're talking about that.
'Menace II Society' itself was a groundbreaking film. It's definitely going to go in the vaults of classics in all of cinema. The Hughes Brothers created an incredible project. Just gave the world something a little different than what we had seen in...
I am grateful to theatre for making me what I am today. But it's not like theatre is my first love. I am equally attached to cinema, which is, actually, a child of theatre, since it borrows heavily from it.
