Cinematic Revolution Quotes

I was around New York at a time when independent cinema was at its peak and became kind of popular and mainstream. It got some hype, culturally. After that, studios started to have independent companies within their studio system, and they found bigger stars willing to do new material. That's kind of what it's turned into.

3D is very exciting. I love it. I'm a complete convert. Everything for me, from now on, is 3D. I'm completely convinced it's the future of home entertainment, as well as cinema entertainment. I think it's a paradigm shift, in terms of cinema, and those things don't happen very often. The introduction of sound, the introduction of color photography and now 3D have been the big shifts. They happen once every 40 or 50 years, so it's very exciting to be a filmmaker, working while one of them is happening.

Can a film really change anything? I mean, what was the last time? Maybe the Italian neo-realists, where they became the voice and the heart and the soul of Italy, a nation that had been destroyed. I don't know.

But I do believe that there's going to be a time where all movies are going to be made in 3D and it's just going to be a given, and that is going to be an exciting time.

I believe in my heart that 'Avatar' is going to be the revolutionary sci-fi movie for this generation, in this era.

The action movies changed radically when it became possible to Velcro your muscles on. It was the beginning of a new era. The visual took over. The special effects became more important than the single person. That was the beginning of the end.

Look at the movies of the sixties and seventies. They were making a different kind of movie then. Would 'Network' ever be made now? No. Would 'Kramer vs. Kramer' ever be made now? No. Would 'Tootsie' ever be made now? Probably not. Robert Altman films? Never.

What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. I was in Italy, but completely in love with the nouvelle vague movement, and directors like Godard, Truffaut, Demy. 'The Dreamers' was a total homage to cinema and that love for it.

The best thing I can think of would be to create a union between something as beautiful and powerful and wonderful as Hollywood films and a criticism of the status quo. That's my dream, to make such a German film.

We had to get past the mechanical film age to be able to explore other things, but it will be interesting.

I think it's like the '60s - we're going to see another revolution in film where these new filmmakers stand up and take ownership of what film is and mould it into what they want.

[Kubrick] was unique in the sense that with each new film he redefined the medium and its possibilities. But he was more than just a technical innovator. Like all visionaries, he spoke the truth. And no matter how comfortable we think we are with the truth, it always comes as a profound shock when we're forced to meet it face-to-face.

'Baahubali' has done to Indian cinema what 'Star Wars' has done to America.

'Avatar' is staggering. It's seismic. Evolutionarily speaking, it is cladogenesis in a thunderclap.

For me, it is very important to believe in the kind of movies I do. 'Rang De Basanti' made me feel good about Indian cinema. The movie instilled in me a confidence so strong, that I wanted to be a part of the revolution in Bollywood.

Hollywood films have become a cesspool of formula and it's up to us to try to change it... I feel like a preacher! But it's really true. I feel personally responsible for the future of American cinema. Me personally.

When I came to New York in 1949, there was already an entire fresh avant-garde film movement blooming in New York and California. It was a very, very exciting period!

I still would like you to feel the enthusiasm that all those people felt in the twenties and thirties, that indeed we had discovered, with cinema, the great 20th-century, all-embracing medium.

How content-driven cinema worked so well... Yeah, the shift is definitely happening... It is such a good change, and it is the kind of change I would like to see so that we just go to watch a film and not put them into brackets - that this is an art film or commercial movie.

I was lucky enough to come in at the beginning of the independent film movement, and it's really shaped my life and my career.

When I was younger, people were inventing a new way of writing - James Joyce, Hemingway, Faulkner. And I thought we had to find a structure for cinema. I fought for a radical cinema, and I continued all my life.

Throughout the movies' golden age, the Western enriched Hollywood financially and artistically. But in the 1970s, the genre lost its audience appeal to fantasy films of the 'Star Wars' stripe, which told more or less the same story - elemental animosities leading to an armed showdown - but at a faster tempo, and in outer space.

All the great advances in cinema came about from technology. The 3-D camera was not invented by a movie director. The new industries are driven by the innovations in science and technology.

I believe that interactive storytelling can be what cinema was in the 20th century: an art that deeply changes its time.

Cinema d'auteur, cinema about people, about emotions. About la difficulté d'être, the difficulty of being, existential problems. That's what the nouvelle vague is. The early '60s was all about that.