Cinematic Identity Quotes

When you make a film, everyone wants to define it.

I'm accused constantly of having 'no signature.' That's the big artistic demerit. You can't tell a Wyler film from another man's film just by looking at it.

Film is carrying a lot of ideology. It's carrying an image. It's forging an image not only of the rest of the world, but also of yourself, you know.

I think every movie I've made after 'Indiana Jones,' I've tried to make every single movie as if it was made by a different director, because I'm very conscious of not wanting to impose a consistent style on subject matter that is not necessarily suited to that style. So I try to re-invent my own eye every time I tackle a new subject.

If 'Dabangg' starts looking like the 'Golmaal' or 'Dhoom' franchises, then people wouldn't be able to connect with it.

We don't want to be our own niche. We're filmmakers like everybody. How many years in a row are we going to talk about the fact that we make films and we are women? Enough already.

I'm from Australia, where the film industry is potent but small.

I feel that cinema is my country. But it's not my business.

When I make a new movie, I always get stuck with, "That's not an Oliver Stone film." But I don't know what to do about that except just move on.

Our films have the ability to tell global audiences who we are, and this is something the government should feel compelled to protect. My film, 'Bend it Like Beckham,' for example, would not have been made without the backing and support of the U.K. Film Council.

There is no reason to compare Bollywood and Marathi films. Both have their own charm.

The thing I do miss about the way some sequels were in the past was that each film felt like its own unique, complete tone. Now, sequels are tonal facsimiles of the ones before them, like a television series, whereas back in the past sequels would often be radically different from the ones before.

Every film deserves its own unique look.

I think 'Two Towers' is a completely distinct film from 'Fellowship of the Ring' or 'Return of the King.' I think that you can watch them as a group and watch how the story evolves, but I think each one was made in its own entirety, and each one has its own palate of sound and music and color and characterization.

Inasmuch as it's a culture, cinema is the only thing at our disposal with which we can recognize ourselves in today's images. As an instrument it's inevitably inadequate, but it's the only one.

People like to see certain actors do certain things, and people like to see me play that role. I also have no interest in playing a normal girl in a romantic comedy in some cutesy thing.

Now there’s us, staking out our piece of cinematic turf (might be small but it’s ours). And the music has to fit the vision as specifically as it did for [Star Wars and The Matrix.] OUR music comes from THEIR music, this scrappled bunch. It is spare, intimate, mournful and indefatigable.

I had the idea that I'm going to make a trans-genre film about a transgender woman.

I came to Hollywood and I loved it. It was a great time, but in my head I was still elsewhere, in Europe. I believed in a certain cinema, which I still do believe in - a certain European cinema - and as a young woman being in America, I thought I was being taken away from that.

We are the movies and the movies are us.

There is often a great disparity between a director's personal style and the movies he makes.

I want all my films to look distinctly different, like some other directors I admire. But in a way, I can't really take myself completely out of the movies I make.

You become the movie you are making.

Some of our favorite films are obviously not written by the person who directed it. And yet a 'Taxi Driver,' or some Nicholas Ray movie, like 'In a Lonely Place,' seems so personal or obsessive or whatever.

When I was on The View, Barbara Walters was asking me about the blood and stuff, and I said, 'Well, you know, that's a staple of Japanese cinema.' And then she came back, 'But this is America.' And I go, 'I don't make movies for America. I make movies for planet Earth.'