Film Presentation Quotes

For film, you know, the Tarantinos and Nolans of the world who are very focused on a certain kind of film aesthetic and a certain kind of presentation, to be honest, that comes from a place of privilege. It comes from a place of always having access to such, but when you ain't never - you can't see it because you can't even get to it.

If you could custom build new cinemas for every release of every movie, I think filmmakers would work in a lot of different aspect ratios.

I came rather late to film. I've done an awful lot of theater before - before I discovered the camera, you know, seeing everything, requiring much less acting and - and much less presentation, much less projecting, more just being.

There are films like 'Interstellar' where you cannot replicate the experience of seeing it in IMAX - it's an amazing film presented in a spectacular way. It really is an experience, like going to Disneyland, and you can't replicate that by watching home videos of going to Disneyland.

I think the joy of wanting to direct is having that nervous anxiety knowing your film is about to be shown and you're sitting right there with everyone.

I would love to say to all Americans: 'Each candidate is going to produce a film of an hour and a half. You're going to watch one from each candidate, and then you're going to vote!'

There are all kinds of ways that people present their films, but that's kind of a good feeling, if you can make it seem like the characters are really there.

If you take 'Agni Natchathiram,' it is about two half-brothers and their emotions and those are genuine, which can be made into a very hard-hitting film just that it can be presented in an entertaining fashion. Similarly with 'OK Kanmani,' it is a genuine film; it is not a flippant film just for commercial purposes.

The difference between an actor and a star is the budget and the overall presentation of a film.

Start [the movie] in color. Color is always attributed as fun, and black and white is very sad.

I hate this idea in the Cinematheque that you must watch silent movies with no music, like it's a piece of art. It's not true.

I'm interested in all the new ideas, such as 3-D and widescreen, but I don't believe the technical method of presentation is the real important thing.

I was asked to go to Cannes to present Amores Perros. And little did I know that this film would be huge. I saw it for the first time in Cannes, and it was the first time I'd seen myself on such a big screen. And it had a huge impact on me - it was the strangest feeling.

Each medium has its own beauty and way of working. While television offers immense reach and long-running shows, films are shorter and they are presented differently. With theatre, it's the thrill of instant feedback.

I've always been passionate about these different (film) genres. Kung fu movies, samurai movies, Japanese movies, all this kind of stuff, and my love for it, and just trying to present it in a way that other people can love it as much as I do.

I think for most people, the audience probably couldn't tell the difference, but I know they [shots of visual effects] can be better. And the people working know they can be more precise. I'm still doing another round of sound mixing and color timing, pretty technical stuff. I think the movie [Life of Pi] is really presentable, nothing was left out that would take you out of the movie. I just need to perfect the job and I still have two weeks to go [to deliver final cut to Fox].

I can't complain about anything. It's like saying, "I don't like talkies." Time marches on and I don't care how people watch my movies as long as they see them. I don't care if they're on their phone. Believe me, if you ever want to watch my early films they would look a lot better on your phone than they would on a movie screen. The smaller the better.

Whether people are making narrative cinema or experimental cinematic movie experiences, they all want the biggest screen possible and the quietest room and the most attention to every nuance and detail. Obviously, most people will not see the movie that way, but I can still hope for it, and I'd like to think we will be able to pull it off this time.

As a creative agency, the film industry is thinking great subjects, presenting them wonderfully well, and giving opportunity to new faces each day.

As filmmakers, we want the audience to have the most complete experience they can. For example, I interviewed Stanley Kubrick years ago around the time of '2001: A Space Odyssey.' I was going to see the film that night in London, and he insisted I sit in one of four seats in the theater for the best view or not watch the film.

Also watching a movie on DVD is different than watching it in the theater.

I'd rather have fewer spectacular theaters than tons of cheap little multiplexes.

If you're working on a movie, you want it to be projected on the largest tapestry possible, and the sound to be perfect, and for that kind of communal experience of the movies to take place for it.

One of the things I've been talking about with my critical writing and my own work is that these movies are seen differently in a theatrical space. It's very important to me. I edit films to be seen theatrically, like fiction material I've worked on like Listen Up Phillip or other documentaries.

Stills belong in the lobby, not on the screen.