Panos Cosmatos Quotes

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

My films express me, my sense of rhythm, my sense of impact, my sense of kinetic energy. I like films to move, but I like also clear storytelling and characters, and most of all, I like authentic emotion.

I'm not very particular about the commercial angle in my films, but entertainment is very important.

What I like to do with every film is to bring a form, like a cinematographic proposal. If you watch 'S21,' it's a form; 'Duch, Master of the Gates of Hell' is a different proposal.

I would say that all my films have more content than a 'content-driven film.' It is not easy to make such films.

A lot of movies are about life, mine are like a slice of cake.

I don't have a lot of patience for boring arthouse movies.

I love good film, whether it's an independent or studio film. The independent films, I think the good ones aren't necessarily eccentric ones but they're the more specific ones.

I don't approach films purely in context of genre.

My films start with images, a few images and a few feelings, and I try to edit them together to see the correspondence between these images and these feelings.

I love indie movies - I feel they can really allow you to develop a character.

Within the mainstream cinema, I feel you can experiment and make sensible films. It's possible to tell a story with characters and emotions which are real, genuine, and which need not be over the top.

I mean, we should only be talking about the merits of film ["Moonlight"] because one of the great things about the visual language is that it is the great equalizer.

It's a risk, but I'm sort of ready to let go of thinking of movies as books that you can watch. The notion of, 'If I put the narrative blocks in the right order, this will solve all of my storytelling problems.' No, it won't, and you end up with little more than books on film.

I hope I can become a good enough filmmaker where I can take a script that I'm not 'heart and soul' into, but I could still make something really great out of it.

I wouldn't take a directing job if I didn't think it was enriching life.

My interpretation of a strong director is someone who knows their story. That's what directors are, they're storytellers because they're directing where your focus is going to be as an audience.

I don't think I'd ever start making a film until I had both the intimacy with the subject and the distance to make it live in a certain way.

I found it very difficult to explain to someone why you did a film. It's not like having a conversation.

When I make a movie, I have both a specific and vague, amorphous dream idea of what the movie is going to be. Of course, I don't actually know what it's going to be, but I'm still striving to get to some place with it.

Agnes Varda changed my view of cinema; she directs from an artistic point of view, and a film is most of all the expression of an artistic director. I learnt to enter the world and the imagination of a director.

When you boil it down, most movies are message movies. And I think careers are made in message movies.

I like movies that are specific. Movies that home in on a very specific subculture, a specific discipline, a specific world.

The demarcation between an art house film and an entertainer has blurred, only because a larger section of the audience has accepted such realistic films.

I don't think that my films are 'literary'; they are based on the most ordinary things of life.