I think the problem with the cinema currently is that so much of the money that goes movies that offer a certain kind of repetition.
Even if I don't see Brooklyn I have to see Anomolisa, because it's Charlie Kaufman. No one is doing things that they should't be doing more in cinema than Charlie Kaufman. This is how I look at it: he had an incredible story that was going to resonate regardless, but just shooting that movie is too easy for Charlie Kaufman.
I'm a professional and I'll do anything - a poetry reading, television, cinema, anything that allows me to act.
Architecture exists, like cinema, in the dimension of time and movement
IN CINEMA IT IS NECESSARY NOT TO EXPLAIN, BUT TO ACT UPON THE VIEWER'S FEELINGS, AND THE EMOTION WHICH IS AWOKEN IS WHAT PROVOKES THOUGHT.
Magic in cinema is a bit like ventriloquism on the radio.
It's the golden age of French cinema again but it's because Sarkozy had the guts to push through copyright law.
The idea that boxing lends itself to cinema so well is because it's usually a morality play - good against evil, insecurity and triumph, fear strikes out, so the audience can really get drawn into the drama of it. Also, it was sensual and very primal. I think subliminaly we do two things - life is a fight, life is a struggle and we understand that from our early, early, early ancestors, and life is a race.
I loved cinema while growing up and, for the longest time, wanted to be a director.
The so-called "remake" is simply a commercial formulation of a much deeper exchange which accounts for the way cinema is what it is.
My favourite way of watching the cinema is the biggest possible cinema you can find, with the biggest possible screen, and the loudest possible Dolby - but just me. Nobody else.
There's a real tension between it being a collaborative art process, which is almost like performance art of yourself, and, as we talk about the movie, it's kind of a mix between melodrama and cinéma vérité. This involves ideas about playing the role of yourself and the movie of your life and all these other things.
I don't have any particular wish to be polemical or didactic; I don't have a 'message', but what I do thoroughly enjoy are those works of art, not necessarily in the cinema, but in the other arts as well, which have an encyclopaedic world.
The cinema has the power to make you not feel lonely, even when you are.
90 percent of Indian cinema is crap
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.
Campaign may invite a certain skepticism about democracy, but it will surely restore your faith in cinema verite.
I earn my living by teaching film, mostly filmmaking but also teaching courses on current cinema. I'm interested in movies. I hope that's not all I'm interested in. In that sense, it's maybe a little misleading. I don't expect to make another movie about films, but I may continue to write about them.
There are those who think that Zeffirelli's Hamlet is the way to treat Shakespeare. I think that cinema can handle much more. We somehow expect cinema to provide us with meaning, to console us. But that's not the purpose of art.
Although it is a fantasy film, it's as real as it can be. You have to imagine that an audience will buy their ticket to a cinema and get on a first-class flight and journey to Middle Earth.