I do think that at a certain point, the reboot sequel mode has to give way to original ideas and back to a place where, you know, films are, you know, a medium and the cinema is a place you go to see something that is, you know, wholly new.
Entertainment today constantly emphasises the message that things are wonderful the way they are. But there is another kind of cinema, which says that change is possible and necessary and it's up to you.
Cinema is a medium that can translate ideas.
We really are living in the era that all this sci-fi literature and cinema was centered around, but it's not anything like what we envisioned it to be. It's almost like there's too much choice.
What cinema can do is the reordering of this reality from a certain chaos or from a certain order into an aesthetic dimension.
In the vast majority of movies, everything is done for the audience. We are cued to laugh or cry, be frightened or relieved; Hitchcock called the movies a machine for causing emotions in the audience. Bresson (and Ozu) take a different approach. They regard, and ask us to regard along with them, and to arrive at conclusions about their characters that are our own. This is the cinema of empathy.
To my mind, any phenomenon is para-cinematic if it shares one element with cinema, e. g. modularity with respect to space or time.
Going to the cinema is like returning to the womb; you sit there, still and meditative in the darkness, waiting for life to appear on the screen.
I make every movie and every scene like it could be my last. That's the only way I know how to make cinema that stands on its feet. I have to treat it like that. It has to be life and death stakes.
I want people to leave the cinema feeling that something's been confirmed for them about life.
There will be a competition among critics for the best Paris Hilton insult. Here's my first: Her attention span is so short that she can't even maintain her concentration while running away from a psycho. . . Maybe the ultimate insult is that she makes her co-star Elisha Cuthbert seem, by comparison, the sexiest and most interesting actress in modern cinema.
My fascination is not for cinema; it's for human nature and human beings because I find it quite difficult being one at times.
I tell my children to avoid theatre and go into cinema and TV.
The cinema, like the detective story, makes it possible to experience without danger all the excitement, passion and desirousness which must be repressed in a humanitarian ordering of life.
Without a doubt, I was born to want to make cinema, but the kind of cinema I want to make is not like commercial movies, which I enjoy myself, but I wanted to be the kind of filmmaker who wrote original work, sort of like a novelist would who deals with who we are and our times or our relationships.
Cinema to me is like a religion. If I was going to have a religion it would be cinema.
If I want to, I can sign 20 films for ridiculous amounts of money, but I really want to do different kinds of cinema. I want creative satisfaction.
Of course it's true: the public want to see young people - young people are the people who go to the cinema. It's a sad fact of life, but you've got to accept it and not whine about it.
I've always been drawn to a certain kind of dark aesthetic in cinema and in film, to what's abjected or considered abject. I've been tremendously influenced by noirish cinema whether that's Von Sternberg or Scorsese in the 70s or Lynch, etc.
The cinema has no boundary; it is a ribbon of dream.