Cinematic Quotes

Slow motion is so visually cinematic; when you create that, you create it for your audience, you let them have the feeling of what it must be like to be there. And in a movie, you can't forget the audience.

I challenged myself to write/direct a romantic comedy. People trash talk the rom com, but it's one of the oldest cinematic genres, with stellar origins like Twentieth Century and Trouble in Paradise. I think as audiences lost their innocence, the genre lost its suspense. To create suspense, you need obstacles, so I gave my couple an obstacle that very few people ever overcome: their own behavior and their past.

Most Russians don't treat the government, or those in power, as something close to them. They don't believe that they, as ordinary people, are able to change the development of things. That's why they have a very specific ironic sentiment towards power and the figures that represent it. I wanted to translate this irony into the cinematic language.

I base everything on my own life experiences as a female. I start from there, and then I look for characters and settings that I think are cinematic, where I can use symbols and imagery to tell a story.

Cinematic and symphonic: this is a compelling story revealed in a sequence of voices that are as pitch-perfect as they are irresistible. This is a wonderfully impressive debut: tender, muscled and unforgettable.

If I never do another movie, I will have had the privilege of working on one of the big Hollywood movies with top people, creating a world that can only be described as totally cinematic

I've taught both screenwriting and playwriting, and playwriting is both much harder and much more rewarding. One can teach people how to tell a story in cinematic ways, but theater is a much more elusive craft.

THE ACT OF KILLING invents a new form of cinematic surrealism.

Pace is crucial. Fine writing isn't enough. Writing students can be great at producing a single page of well-crafted prose; what they sometimes lack is the ability to take the reader on a journey, with all the changes of terrain, speed and mood that a long journey involves. Again, I find that looking at films can help. Most novels will want to move close, linger, move back, move on, in pretty cinematic ways.

The poet’s life is just so much crenellated waste, nights and days whipping swiftly or laboriously past the cinematic window. We’re hunched and weaving over the keys of our green our grey or pink blue manual typewriter maybe a darker stone cold thoritative selectric with its orgasmic expectant hum and us popping pills and laughing over what you or I just wrote, wondering if that line means insult or sex. Or both. Usually both.

Up to and including the moment of exposure, the photographer is working in an undeniably subjective way. By his choice of technical approach, by the selection of the subject matterand by his decision as to the exact cinematic instant of exposure, he is blending the variables of interpretation into an emotional whole.

And then, I suppose, there's also a cinematic reality on top of that. Because it was extremely difficult to keep tabs on, it was quite confusing acting that.

Our music over the years has been very cinematic. It's surprising we never really got into film soundtracks.

Screenwriting is the most prized of all the cinematic arts. Actually, it isn't, but it should be.

The actors are the greatest executors of tone in a film. They're the most important cinematic component.

I don't make the best movies in the world, but at times, I do feel like I'm adding something to the cinematic community.

I try to combine in my paintings cinematic feeling, emotional feeling, and sometimes actually writing on the page to combine all the different elements of communication.

The living room is a monument to my impulsive spending habits. I've got more than two hundred DVDs, including cinematic greats such as Monkey Bone, Corkey Romano, and A Night at the Roxbury, leading me to believe not only do I have awful taste in films, but I also have a Chris Kattan fixation. What I don't have is $4000 earing intrest in a money market account.

I think violence in a cinematic context can be, if handled in a certain way, very seductive.

Most of us live our lives devoid of cinematic moments.

My heroes among filmmakers would be people like Buñuel and Pasolini, who were of very high cinematic intelligence, but tread on a lot of toes.

I love writing dialogue, and I think a lot of my writing is visual and very cinematic.

But actually I make films that I think are extremely sophisticated and cinematic.

And it's one reason why I don't go to a lot of movies - they're more and more dominated by corporate values and fiscal concerns as opposed to cinematic concerns.

Something impacts me emotionally, art is a kind of outlet, and I figure it's the same for a lot of artists. The way my mind deals with things is cinematic.

I go to a very visual place when I'm singing. It's very cinematic and I get this feeling of space. I love when music does that.

The guys I grew up with, my cinematic heroes, have always been men of few words, but of action. Clint Eastwood, Eli Wallach.

One of the things I think is important about 'Watchmen' is that it have resonance within cinematic pop culture as well as superhero culture.

There is something that might be called cinematic beauty. It can only be expressed in a film, and it must be present for that film to be a moving work. When it is very well expressed, one experiences a particularly deep emotion while watching that film. I believe that it is this quality that draws people to come and see a film, and that it is the hope of attaining this quality that inspires the filmmaker to make his film in the first place.

I'm not trying to write cinematic novels, but I have been told several times that my style is cinematic.

Now there’s us, staking out our piece of cinematic turf (might be small but it’s ours). And the music has to fit the vision as specifically as it did for [Star Wars and The Matrix.] OUR music comes from THEIR music, this scrappled bunch. It is spare, intimate, mournful and indefatigable.

With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.

A book and a movie are different animals. You need a cinematic perspective to be involved in the motion pictures. And this is something I lack.

When I create a collection, I approach it with a cinematic point of view-I am not designing clothes, I'm creating a world.

The realm of superstitions, fortune-telling, presentiments, intuition, dreams, all this is the inner life of a human being, and all this is the hardest thing to film.

You make films to give people something, to transport them somewhere else, and it doesn't matter if you transport them to a world of intuition or a world of intellect...The realm of superstitions, fortune-telling, presentiments, intuition, dreams, all this is the inner life of a human being, and all this is the hardest thing to film... I've been trying to get there from the beginning. I'm somebody who doesn't know, somebody who's searching.

I steal from every single movie ever made. I love it - if my work has anything it's that I'm taking this from this and that from that and mixing them together. If people don't like that, then tough titty, don't go and see it, all right? I steal from everything. Great artists steal; they don't do homages.

I use cinematic things in a theatrical way on stage, and in film I use theatrical techniques in a cinematic way.

My favorite review described me as the cinematic equivalent of junk mail. I don't know what that means, but it sounds like a dig.

I think I've always been drawn to the notion of talk as cinematic.

The problem with black cinema in its current form is on the one hand it is the only game in town; it's a very structured set-up and it's not conducive to get at the kinds of things I'm trying to portray using the cinematic apparatus to show black sociality and how it functions.

I don't like the strictly objective viewpoint [in which all of the characters' actions are described in the third person, but we never hear what any of them are thinking.] Which is much more of a cinematic technique. Something written in third person objective is what the camera sees. Because unless you're doing a voiceover, which is tremendously clumsy, you can't hear the ideas of characters. For that, we depend on subtle clues that the directors put in and that the actors supply. I can actually write, "'Yes you can trust me,' he lied." [But it's better to get inside the characters' heads.]

If we [black people] do not show up and support the march towards cinematic equality, the march towards being on a level at - we don't even have to be higher than whites, but to be viewed in the same common thread of this is a professional, these are stories that people are interested in, instead of being fed the same old BS dogma that's been fed and the studios have used.

It is really amazing to be able to do cinematic, big feature style film music on a weekly basis and do it in LA, on a big scoring stage, on a studio lot, and do it with the right players and make it sound great.

There's something about a roller coaster that triggers strong feelings, maybe because most of us associate them with childhood. They're inherently cinematic; the very shape of a coaster, all hills and valleys and sickening helices, evokes a human emotional response.

I love it when television is shot in a cinematic way and I think to aspire to that is no bad thing.

When you write a scene where somebody is afraid of something you instantly go to decades of genre cinema: horror, suspense, and thrillers. Those are very cinematic genres, when you shoot a close-up of someone and you can see fear in the person's face, or anticipation, or some kind of anxiety, it's a very cinematic image.

A boy's best friend is his mother.

Completely committed to adapting 'Fifty Shades of Grey'. This is not a joke. Christian Grey and Ana: potentially great cinematic characters.

I think making a great action movie is one of the hardest cinematic endeavors. By definition, smart characters avoid action. Smart people don't go down dark alleys, but if you're making an action movie and you want to have an action sequence, somehow you have to get that character into that dangerous situation.