Chennai is the birthplace of a new language in cinema. The audiences here are the most evolved moviegoers to be found anywhere in India.
What I expect of a movie reviewer is that he should love cinema as much as I do.
I remember driving around with my parents when I was little and looking out of the window and being very aware that it was the shape of a film screen when you went to the cinema. This was how I first saw the world, framed through a car window.
Cinema is an art form.
The Last Of England works with image and sound, a language which is nearer to poetry than prose. It tells its story quite happily in silent images, in contrast to a word-bound cinema.
[The director] has to, I feel, be one step back, not only from cinema, but also from politics and all these issues in order to tell and depict the situation that spreads to people.
The greatest danger for those working in the cinema is the extraordinary possibility it offers for lying.
I really believe in 3-D. I really think it is the wave of the future for cinema.
You talk about auteur de cinema having things in their heads and putting them all across, can you imagine Shakespeare writing screenplays?
David Fincher is probably the best comprehensive director in terms of being a manger of a process that must drive forward. He has such confident command of cinema language and visual language and script and performance. He knows more about f-stops than any cameraman, he knows more about lighting than any gaffer, he is a wonderful writer, and he can give you a good line reading. Under pressure, he is the kind of guy who you will just dive in with and trust and follow because his vision is so intense.
I like to stay at home and make cinema in my head.
In terms of popular cinema, 'One Flew Over the Cuckoo's Nest' is as near perfection as I can think of.
I am not ready to fit into the mould of commercial cinema.
I'm not hoping to see that day but I know that my cinema will reach Filipinos. I know that they will embrace it one day. It will happen. I'm very sure of that. I still have faith in cinema. I still believe it can affect change.
I'm not a fan of action movies. I don't watch many action movies, I don't have a lot of references except for 70s action movies or cinema noir.
When I was young I used to sit in the cinema thinking wouldn't it be great if you could have a film in which the characters were like real people instead of being like actors.
["Aquarius"] it had a bit of a rocky arrival in cinemas because we were given the 18+ rating, which did not make any sense in terms of the Brazilian rating system for a film like this.
I bask in the affection I get on the streets. I recently went into the kitchen of a restaurant to meet the cooks. They were people I didn't know, but what a joy it was meet them! Such experiences wouldn't happen if I were doing only one kind of cinema.
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.
Parallel cinema has not made an effort to communicate in a language the other person understands.