Quotes Tagged "cinema"

Cinema is the ultimate pervert art. It doesn't give you what you desire - it tells you how to desire.

Don't wake me for the end of the world unless it has very good special effects.

Most of the movies are working like, 'Information, cut, information, cut, information, cut' and for them the information is just the story. For me, a lot of things [are] information - I try to involve, to the movie, the time, the space, and a lot of other things - which is a part of our life but not connecting directly to the story-telling. And I'm working on the same way - 'information, cut, information, cut,' but for me the information is not only the story.

Heroes hate wasting time. 'You're wasting my time,' they'll say. Yet they devote very little time to time management, and rarely consult a diary.

I was hungry when I left Pyongyang. I wasn't hungry just for a bookshop that sold books that weren't about Fat Man and Little Boy. I wasn't ravenous just for a newspaper that had no pictures of F.M. and L.B. I wasn't starving just for a TV program or a piece of music or theater or cinema that wasn't cultist and hero-worshiping. I was hungry. I got off the North Korean plane in Shenyang, one of the provincial capitals of Manchuria, and the airport buffet looked like a cornucopia. I fell on the food, only to find that I couldn't do it justice, because my stomach had shrunk. And as a foreign tourist in North Korea, under the care of vigilant minders who wanted me to see only the best, I had enjoyed the finest fare available.

Kapalı Lale Sineması'nın önünde oniki on üç yaşlarında bir simitçi dururdu. Ben önceleri kendisine pek dikkat etmemiştim. Bu çocuk ikide bir sinemaya kaçar, simit tablasının başını boş bırakır, gelen geçen para atıp simit alır ve boş tabla orada kalırdı. Ne yaptıysak bu çocuğu sinemadan dışarı çıkaramadık. Tokatladık, azarladık nafile, gitmiyor. Bir süre sonra kendi kendine yerleri silmeye, koltukların tozunu almaya başladı. Canla başla çalışıyor. Ancak filim başladı mı kendinden geçiyor, neredeyse perde ile bütünleşiyor. Birgün bunu karşıma aldım, oğlum sen kimsin, nesin, ailen yok mu diye sorularla tanımaya çalıştım. Ailesini Yunanlılar katletmiş. Bu ellerinden zor kurtulmuş, işte simit falan satarak geçinmeye çalışıyor. 'Amca' dedi, 'ben sinemayı çok seviyorum, nolur beni kovmayın' dedi. 'Peki' dedik ve bunu işe aldık. Temizlikçi olarak başladı, ama kabiliyetli çocuk. Bir süre sonra perdeye baka baka okuyup yazmayı öğrendi. Aradan çok geçmedi filme eşlik eden piyanoyu seyrederek piyano çalmasını öğrendi. Makinalara merak saldı, makina kullanmasını öğrendi. Afişleri yapan ressamı seyrederek afiş yapmasını öğrendi, yani sinemanın girdisini çıktısını tamamen bilerek tam bir vukuf kesbetti. Ben sonraları bu çocuğu sinemaya idareci yaptım. Yıllarca yanımda çalıştı. Buradan şu neticeye gelmek istiyorum: Sinema olayı eğitici yönü ile çok önem taşımaktadır. Mustafa Çimen ismindeki bu cahil ve aile nedir bilmeyen çocuk kabiliyetlerini geliştirmiş ve bir meslek edindiği gibi olabildiğince kendisini yetiştirmeye çalışmıştı. Canlı bir örnek olarak karşımızda durmaktadır. Sinema, görerek öğrenmenin başta gelen unsurlarından biri ve belki de en birincisidir.

The funny thing about cinema is, usually when they do a story that has African Americans in it, there always has to be a white guy who's the savior.

My company, Cinema Gypsy, produced a podcast, 'Bronzeville,' in conjunction with Larenz Tate and his brothers that we're developing into a television show. It deals with a very tight-knit African-American community in Chicago in 1947 and people who run a numbers wheel.

Akira Kurosawa, David Lean and Alfred Hitchcock were the main inspirations for 'Samurai Jack,' along with a lot of '70s cinema.

It's hard to imagine anyone interested in film not being a fan of Alfred Hitchcock because he's such a key influence on the entire history of cinema - it's hard to escape his shadow.

Certainly, the Hollywood cinema, there's almost nothing of interest coming out of there.

One of the powerful temptations is that of the cinema palace. The cinema has undoubtedly an enormous attraction for boys, and people are constantly cudgelling their brains how to stop it. But it is one of those things which would be very difficult to stop even if it were altogether desirable.

When I first envisioned 'Funny Games' in the mid-1990s, it was my intention to have an American audience watch the movie. It is a reaction to a certain American cinema, its violence, its naivety, the way American cinema toys with human beings. In many American films, violence is made consumable.

I think there's a growing courage among the younger generation of American writers. Because of the more superficial treatment of characters taking place in cinema, they have had to deal with that by digging deeper into who these people are.

I tried to sing 'What's Going On' with Amy Winehouse once at an old cinema in the West End. There was a funk band that had members of both of our bands playing in it, but it was the worst kind of place to sing bad karaoke because everyone there was an amazing singer or musician.

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.

From now on, I approach the cinema as a business woman. I intend to be in more action movies because, apart from Angelina Jolie, no other actress stands out in this genre.

I was a complete anomaly in this business. I didn't fit into the Hema Malini-Zeenat Aman commercial cinema mould, neither the Shabana Azmi-Smita Patil art cinema mould.

The appeal of cinema lies in the fear of death.

The film industry is large enough and has many successful icons that have taken Indian cinema to shores beyond India. I think that Indian cinema itself needs to be applauded beyond one individual.