Film Heritage Quotes

My mum raised me on 'On the Waterfront,' 'Gone with the Wind' and 'Rear Window.'

People forget that I am the granddaughter of a person named Nanabhai Bhatt, who had made more than 150 odd films. He was the person to introduce the double role phenomenon in Indian movies.

I'm an advocate of all mediums - it's a larger canvas for us as artists - but we have to keep in mind that celluloid film is what created this wonderful art form, and we have to keep it alive.

My dad had a commercial film company, so he had a videotape player before anyone. So he got Mel Brooks movies or Citizen Kane or some classic old movies. And every summer the revival house in Evanston would show the great films from the '50s and '60s and '70s.

I will watch everything that Cary Grant did, or Kubrick made or Bergman.

My father comes from a generation of film that actors my age don't even know about, which is really sad.

I hadn't watched any Hitchcock movies when I made 'Tom at the Farm,' except for 'Vertigo' when I was 8 years old. I don't have a sophisticated film knowledge, but I have seen the legacy of classic movies in broader entertainment.

I'm a Hollywood kid, and I know that there are only so many stories. Only so many tales around the campfire that we have to tell. Then we have to regurgitate them. Our grandparents' movies were all remakes of silent films - we forget that, but it's true.

I love old Hollywood. I love our early film culture.

Really, what I'm doing is an attempt to continue the best work of the people I adore: Francis Coppola and Scorsese and Robert Altman and Stanley Kubrick and those amazing directors whose work I grew up with and loved.

I come from a background of independent films.

I think once a year it's good to look back at the history of Oscar and to embrace the great work that everybody's done this year and set it in place to the great work that's gone on before us.

Painters can study the masters can't they? Musicians can hear Beethoven. What will filmmakers do?

Western Costume, and the old Universal wardrobe that is huge and they're getting rid of so much of it now, which is sad.

I would love if film doesn't disappear, if we can have film forever so we would have all these brushes, all these possibilities available.

I love watching old movies anyway - I grew up with my mom watching old movies and being immersed in the history of old Hollywood.

If the purpose of the stumpy little NFT theatre under Waterloo Bridge is not to acquaint young audiences with Ozu, with Ophuels, with D. W. Griffith and with Agnes Varda, then what exactly does it exist for?

In the whole history of movies, there has been nothing like Kubrick's vision. It was a vision of hope and wonder, of grace and of mystery, of humour and contradictions. It was a gift to us, and now it's a legacy.

I decided to restore 'Napoleon' after a widescreen festival at the Odeon Leicester Square in 1968. It was run by Richard Arnell and George Dunning, who animated and directed 'Yellow Submarine,' and they'd got their hands on the last scene, the triptychs. They just showed that part, without music and with the projectors misaligned.

I built up a knowledge of 1960s and '70s British films because my dad used to work nights, and I'd sit up with my mum and watch films - 'How I Won the War' and the films of Richard Lester, Karel Reisz and John Schlesinger.

If you're a director and you pay homage to Japan, you're definitely going to remember what you've learned from watching the Japanese masters' films.

A lot of these movies are informed by the movies that come before them.

My all-time favorites that I always go back to are films by the director John Cassavetes. The movies he made, the work he left behind, have been a big influence for my work.

I'm somebody who is very, very proud to have been a part of the British film industry all my life and to have kind of been involved with a very important piece of British film history.

If you’re looking for the origins of film culture in America, look no further than Amos Vogel.