Cinematic Authenticity Quotes

I was criticised for making 'Devdas' so ostentatious. But stark and realistic cinema isn't the only real cinema in this country.

I believe that perfection handicaps cinema.

Making an authentic film about anything is difficult.

I always felt that if I was going to do a movie, I wanted it to be authentic.

I don't think a movie today that captured all the things that we did in the seventies could come close, because it's like asking to recreate the seventies and the audience sensibilities and that's impossible.

35mm film isn't ticking away so it's subconscious - performances are allowed to breathe in a much more real way I think.

I get really excited when I see filmmakers make something that is subtle and feels real. It is really tough to do right.

Ms. Sciorra is a member of a dwindling fleet of actors who actually sound like they come from somewhere. In her case, 'somewhere' is Brooklyn. In most movies, and perhaps especially in a handful of singeing 'Sopranos' episodes, 'somewhere' makes her vital. She's what you'd call an around-the-way girl.

The film [Close Up] made itself, to a large extent. The characters involved were very real, I wasn't directing the actors so much as being directed by them. So it was a very particular film.

There is no realism in American films. No realism, but something much better, great truth.

In 'Crazy Rich Asians,' Singapore will be seen as it should be seen, without CGI, without the altering of the images to be more Chinese - a representation of Singapore as we know it and love it.

I'll be vilified if I shoot a film in Toronto for New York. And rightfully so!

I'm a product of older filmmakers I guess, the past where you get to make movies and scenes are what they are. You know if you think about Scorsese back in the day when he was making Taxi Driver, or Coppola or Frankenheimer, Sidney Lumet, they're making films where you witness violence in a real way.

I'm one of those people, when I see a film, I believe it to be true. You know, sort of the authenticity of the camera and seeing things on a screen.

I like to make movies the way people made movies in the '70s, where they lived and died with these stories, and cared about them, and went to war for them, and they all said something they wanted to say.

In my films, they say the action sequences are very local and not international. But why should I copy from English films?

There is a certain kind of respect for authenticity today that there wasn't back in the days when they did 'Cleopatra,' where everything looked like a giant motel. People want to have it be authentic in the look, and authentic in the way people behave.

A part of me is a liberal New Yorker involved in politics and certain attitudes about movies. I kind of lost my indie credibility over 'Mr. and Mrs. Smith.' I know I haven't lost it. I just have to go make an independent movie. I just have to do it. Just for me.

I really fight hard to make things film where they're supposed to be filmed. If something is supposed to be in New York, then it has to be in New York.

A lot of cinema is about the game of authenticity - do you feel it's real?

There was no actually stock footage in "Medium Cool." I wrote the script. I wrote the riots. And I integrated the actors in the film in the park during the demonstrations. But nowhere was it like we had stock footage and then later, in editing, integrated it into the film. It was all done at the time.

There have been projects out there involving my father, but they've lacked a complete understanding of his philosophies and artistry. They haven't captured the essence of his beliefs in martial arts or storytelling. The only way to get audiences to understand the depth and uniqueness of my father is to generate our own material.

I hate it when you are watching a movie where the characters are on the news, and for some reason they shoot it with a 35mm camera or a 4K camera, and they just put it on the TV as if that's the way it would look - it always takes me out of it by putting a filter on certain things. If it's too high quality, you're never gonna buy it.

The thing is, right now the films don't need to be overtly political to be about our times. We also need films that are just human, that are about people. People need that, too. It's like we need to reconnect to what it is to be human. Not just what our political situation is. That's not what I'm thinking about exclusively. Human content is needed again, as it was in the '70s. I think films were more human than they've been since then.

Guy Ritchie likes to ground things in realism.