Film Movement Quotes

Truth be told, actually, my favorite director of the Movie Brats was not Scorsese. Loved him. But my favorite director of the Movie Brats was Brian de Palma. I actually met De Palma right after I'd done 'Reservoir Dogs,' and I was very beside myself.

The term 'new queer cinema' and the films of mine that were associated with that term are from a very, very different time, one almost entirely defined by the AIDS era. It was a very different social and cultural regard for the lives, the experiences, the worth of gay people.

I don't think American independent films have ever really been particularly experimental, except for the original guys from the '60s who were huge influences, like Stan Brakhage, Robert Breer, and Stan van der Beek. They were the true independents.

For me, the French new wave is Truffaut and Rohmer. Godard I sometimes have trouble with because he's very much of a director's director. I feel Truffaut is such a humanist, and I always go in that direction.

I grew up cinematically in the '70s. I was watching a lot of Godard, Bresson, Dreyer, and all sorts of old films and the Czech New Wave.

I do like to move and get physical in my movies.

I was seduced by the nouvelle vague, because it was really reinventing everything. And the Italian cinema that one would see in the theaters in the late '50s, early '60s was Italian comedy, Italian style, which, to me, was like the end of neo-realism. I think cinema all over the world was influenced by it, which was Italy finding its freedom at the end of fascism, the end of the Nazi invasion. It was a kind of incredible energy. Then, late '50s, early '60s, the neo-realism lost its great energy and became comedy.

I'd love to work with the people who really got the film industry going again through the '70s: Peter Weir, Bruce Beresford, Gillian Armstrong, Fred Schepisi.

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.

That's the trouble with anything which essentially has a lot of bits that are physically impossible: You're left, stuck, in the studio. And that's a shame. You're making a movie. You don't want it to stay put, you want it to be a movie - to move.

In the early '90s, when those little art films started coming out, we were introduced to Quentin Tarantino and guys like that, and independent cinema was something that everyone wanted to be a part of.

The Danish filmmakers are a unique breed of filmmakers, with the Dogme films and Lars von Trier.

I'm really fond of 'Real Life' because I think it anticipated a whole movement. And people forget, they talk about 'Spinal Tap,' but that wasn't... this was a mockumentary a long time before that. It was one of the early, early sort of mockumentaries.

When I started my goal was to make a successful underground movie. I started making movies in the mid-60s. Underground cinema then only lasted about two or three years.

I was a child in the '60s and a teenager in the '70s, which was the golden age of film as far as I'm concerned, between American film and the Italian reinvention of genre film.

I'm a big fan of Italian neo-realism and all of that stuff.

I love Lars von Trier. 'Dogville' is my favourite movie of the last 20 years. 'Nymphomaniac' and 'Melancholia' aren't quite as exciting as 'The Kingdom', 'Breaking the Waves', or 'The Idiots', but I'll always love him for being him.

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 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!

The '60s in London obviously brought about the explosion of music, the 'Beatles' especially, and then the 'Rolling Stones' and other forms of music, and then fashion and photography and films - kitchen-sink dramas we called them at that time, which was our 'nouvelle vague' in Britain, films that talk about real life.

By the time I finished 'Poison,' the New Queer Cinema was branded, and I was associated with this. In many ways, it formed me as a filmmaker, like as a feature filmmaker I never set out to be.

And my generation in Brazil was influenced by Cinema Novo. So we're echoing what's been done way in the past.

I think Ingmar Bergman, Francoise Truffaut - all these people created images in my mind, beautiful pictures, I loved what was known at that time as the foreign film.

I was a young film student around the time of the new wave in film in the 1970s; old Hollywood was naff and over. For me, as a film student, I was going to see French and Italian cinema; American cinema was 'Easy Rider' and 'Taxi Driver.' Everything was gritty.

I am the daughter of Mr. Neo-realism: I should gravitate towards narrative simply told, character, the truth. And I do love those movies.