Film Understanding Quotes

You may not quite understand the cinematic tricks that go behind the making of a film, but as long as you feel it, I think that's the important thing.

'2001: A Space Odyssey' - I'd watched and hated it seven times before it provided the first 'religious experience' I'd ever had watching a film. Finally, I was able to pick up on what the film was transmitting almost entirely through dialogue.

I was only in one of the John Hughes films, and I never saw the other ones. I didn't understand them. I kept hearing a really hip 40-year-old person talking in teenagers' mouths.

It's hard to understand the films that you're in, because you never truly get to see them.

It took me a lot of times watching it that I started to appreciate 'Pulp Fiction.'

I would recommend 'Lesson Of The Evil' to be given as a DVD gift on a child's 15th birthday. In Japan, children under 15 are not allowed to watch it. Plus, 'Lesson Of The Evil' is one film where the older you get, the more you will be able to understand and enjoy the film.

I came from Hyderabad and didn't know the difference between commercial and parallel cinema.

I've never been attracted to sci-fi per se. People tell me I'm in a genre kind of movie, but it never crossed my mind that 'The Matrix' was genre.

It's been interesting how kids have had hardly any problems watching it, but adults have more trouble. This happened way back even with Jabberwocky and Time Bandits.

In Tim's films, more than most, if you miss the tone, you don't get the film.

I knew what kind of genre 'Casa de mi Padre' was going for. But my character, specifically, I think is very real.

The trouble with that movie is that you had to see Chinatown the day before you saw The Two Jakes.

Rather than making that a good project, I like to make the kinds of films that children can understand in five minutes what the film is about.

The best conversation with Stanley Kubrick is a silent one: you sit in a theatre and watch his films and you learn so much.

Human beings share the same common problems. A film can only be understood if it depicts these properly.

Bhavesh' is my most accessible film for sure.

You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff.

In most films, when we act, we don't see such meanings in what we do. Rather, we don't realise it. Only when we see it as a continuous film later on do we realise such deep meanings. That is the brilliance of the director.

When you watch the subtitled version you are probably missing just as many things. There is a layer and a nuance you're not going to get. Film crosses so many borders these days. Of course it is going to be distorted.

I pretty much believe that a film is a film and when an audience watches a film, they finish it.

You could get in rehearsals, pre-production, anything that would actually contribute to the understanding of how a film gets made. I actually find those things increase people's interest in a movie and like that better than worrying about showing the tricks behind the curtain.

Any film I've made, I've only really begun to understand in the cutting room. That's when the story shows itself to you, like a wreck coming out of the sea.

There is an amount of abstraction in my movies, and sometimes they don't really understand it until the film is finished.

Going through this musical experience really helped us to understand the core of the film.

It would be nice if all people who saw movies had some sort of basic understanding of what they're looking at, but I don't think you can assume that.