sequence of images that give the impression of movement
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- Quotes are arranged alphabetically by author
A - DEdit
- The mass is a matrix from which all traditional behavior toward works of art issues today in a new form. Quantity has been transmuted into quality. The greatly increased mass of participants has produced a change in the mode of participation.
- Walter Benjamin, “The work of art in the age of mechanical reproduction,” Illuminations (1968), p. 239.
- At the outbreak of war in 1939, the power of the feature film, as a means of communication and persuasion rather than just a vehicle for entertainment, was already well established. One of the earliest programmes of study into the effects of the moving image upon the mind had been carried out by the Payne Fund between 1929 and 1932. The experiments that it carried out concentrated on such issues as the extent to which children learnt from film and how well they retained what they learnt; the possibility that exposure to film affected attitudes; and how moral standards might be affected by what was viewed. The findings of these studies showed that the human mind could be shaped and moulded by persons in positions of influence; and, in this context, the film maker was in an almost unique position of influence.
- The Government controlled the film stock supply at this time and all film scripts for films to be made in the UK had to be submitted to the Ministry of Information. If a film was not approved then no film stock would be supplied.
In 1939 the BBFC still operated under the broad guiding principles of former President TP O’Connor’s list of ‘grounds for deletion’ which were first published in 1916. These essentially barred:
* References to controversial politics
* Relations of capital and labour
* Scenes tending to disparage public characters and institutions
* Realistic horrors of warfare
* Scenes and incidents calculated to afford information to the enemy
* Incidents having a tendency to disparage our Allies
* Scenes holding up the King’s uniform to contempt or ridicule
* The exploitation of tragic incidents of the war
The aim of all these constraints was to try and ensure that the kinds of films that came out during this period dealt with war in ways that were unlikely to be particularly upsetting or challenging for audiences.
- British Board of Film Classification, "War is Hell...but how much can you show?"
- While people are always quick to take up the cudgels against censorship of the press, or radio, any crackpot can advocate new forms of censorship for the movies, and not a voice is lifted in protest. There's something illogical about this indifference to censorship of the movies. After all, it's just as much a medium of public expression as are the radio and newspapers.
- I have never heard of any youngster going wrong, turning to crime, because of the movies. It simply isn't possible. Our relation to crime is, in a sense, the same as the prison warden's. We don't create it. We deal with it after it has happened, and we always make the criminal look bad.
- Humphrey Bogart, “Censorship: Jimmy Walker Never Heard of a Book Seducing a Dame but Bluenoses are Still on the Trail of our Films”, Hollywood Reporter, (Oct 1941); republished in “When Humphrey Bogart Tackled Movie Censorship in 1941”, Hollywood Reporter, (2/27/2018).
- A film is a petrified fountain of thought.
- Jean Cocteau Esquire, (Feb. 1961).
- I'm going to leave you with this machine, pay attention, she's going to ask you a bunch of questions.
- From an unfinished documentary titled How to buy Mountain dew in the mid of the midwest (1921) min 57
- A message I’ve been telling myself: the cinema is very conservative, and unless you have a story that satisfies you, that is within the unchallenging zone, but you love it, you can’t do it as cinema. Otherwise, you better go do it for television, which is more daring now.
- Jane Campion "Ten Questions for Bright Star’s Jane Campion: “I’ve Never Made a Crap Film”, IndieWire, Anne Thompson, Dec 10, 2009
- I can no longer think what I want to think. My thoughts have been replaced by moving images.
- Georges Duhamel, Scènes de la vie future (1930), p. 52.
- … a pastime for helots, a diversion for uneducated, wretched, worn-out creatures who are consumed by their worries, … a spectacle which requires no concentration and presupposes no intelligence,… which kindles no light in the heart and awakens no hope other than the ridiculous one of someday becoming a ‘star’ in Los Angeles.
- Georges Duhamel, describing cinema, Scènes de la vie future (1930), p. 58.
E - HEdit
- American capitalism finds its sharpest and most expressive reflection in the American cinema.
- Sergei Eisenstein (1957) Film form [and]: The film sense; two complete and unabridged works. p. 196.
- The two-year period immediately following 9/11 was an era in which the media was defined both by its jingoism and patriotism and also by its aversion to images of violence and destruction. The images of gleeful destruction the ’90s had reveled in (think Independence Day and Armageddon) disappeared almost overnight, and the few stragglers that crept by (like 2003’s The Core, which destroys both Rome and San Francisco) were quietly buried.
War movies were essentially nonexistent, with most offerings at the multiplex leaning toward fantasy and family-friendly fare. Until Steven Spielberg pioneered the 9/11 visual parable through heavily codified imagery with 2005’s War of the Worlds, scenes of realistic mass destruction temporarily all but disappeared from the media landscape, a far cry from the explosion-riddled works of Michael Bay, Zack Snyder, and their disciples that we enjoy today.
- Lindsay Ellis, "Movies, patriotism, and cultural amnesia: tracing pop culture’s relationship to 9/11", Vox, (updated Sep 11, 2017).
- I always say a screenplay is the big plain pizza, the one with tomatoes and cheese. And then the director comes and says, “You know, it needs some mushrooms.” And you go, “Put mushrooms on it.” And then the costume designer throws peppers on it, and – and pretty soon, you have a pizza with everything on it. And sometimes it’s the greatest pizza of your life and sometimes you think, “Well, that was a mistake. We should have left it with only the mushrooms.”
- American motion pictures are written by the half-educated for the half-witted.
- St. John Ervine Ney York Mirror(June 6, 1963).
- Cinema is an old whore, like circus and variety, who knows how to give many kinds of pleasure.
- Federico Fellini, Atlantic Dec 1965.
- The public has lost the habit of movie-going because the cinema no longer possesses the charm, the hypnotic charisma, the authority it once commanded. The image it once held for us all, that of a dream we dreamt with our eyes open, has disappeared. Is it still possible that one thousand people might group together in the dark and experience the dream that a single individual has directed?
- Federico Fellini [on the Decline of Cinema], a Fellini Lexicon, (1992).
- A good opening and a good ending make for a good film provide they come close together.
- Federico Fellini, [Recipe for a Good Film], a Fellini Lexicon, (1992).
- When television and film are fixated on helping audiences find sympathy for troubled, selfish, cruel, brilliant men, it’s easier to believe that the troubled, brilliant men in real life also deserve empathy, forgiveness, and second chances. And so the tangible achievements one year into the #MeToo movement need to be considered hand in hand with the fact that the stories being told haven’t changed much at all, and neither have the people telling them. A true reckoning with structural disparities in the entertainment industry will demand something else as well: acknowledging that women’s voices and women’s stories are not only worth believing, but also worth hearing. At every level.
- Sophie Gilbert, “The Men of #MeToo Go Back to Work“, (Oct 12, 2018).
- Nooo! Leave that to George Lucas, he' s really mastered the CGI acting. That scares me! I hate it! Everybody is so pleased and excited by it. Animation is animation. Animation is great. But it's when you're now taking what should be films full of people, living thinking, breathing, flawed creatures and you're controlling every moment of that, it's just death to me. It's death to cinema, I can't watch those Star Wars films, they're dead things.
- Terry Gilliam on CGI from IMDB profile
- [Steven Spielberg's films] are comforting, they always give you answers and I don't think they're very clever answers. … The success of most Hollywood films these days is down to fact that they're comforting. They tie things up in nice little bows and give you answers, even if the answers are stupid, you go home and you don't have to think about it. … The great filmmakers make you go home and think about it.
- The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn’t.
- Jean-Luc Godard, Quoted in Richard Roud, Godard, introduction (1970).
- Photography is truth. The cinema is truth twenty-four times per second.
- Jean-Luc Godard, Le Petit Soldat (film) (direction and screenplay, 1960)
- [variation] Cinema is truth at twenty-four frames a second.
- A wide screen just makes a bad film twice as bad.
- Samuel Goldwyn Quote (Sept. 9, 1956).
- If you want to be a storyteller, be an author, be a novelist, be a writer, don't be a film director. Cinema is not the greatest medium for telling stories. It is too specific, leaves so little room for the imagination to take wing other than in the strict directions indicated by the director. Read "he entered the room" and imagine a thousand scenarios. See "he entered the room" in cinema-as-we-know-it, and you are going to be limited to one scenario only.
- Peter Greenaway, "105 Years of Illustrated Text" in the Zoetrope All-Story, Vol. 5 No. 1.
- If you want to do a film, steal a camera, steal raw stock, sneak into a lab and do it!
- Werner Herzog Werner Herzog Eats His Shoe (1980).
- Film is not the art of scholars, but illiterates.
- Werner Herzog Herzog on Herzog.
- As you see [filmmaking] makes me into a clown. And that happens to everyone – just look at Orson Welles or look at even people like Truffaut. They have become clowns.
- Werner Herzog Werner Herzog Eats His Shoe (1980).
I - LEdit
- Some 20 years after Lumière’s film, a Harvard psychologist named Hugo Munsterberg challenged researchers to figure out the depth of, and reason for, cinema’s influence: “For the first time the psychologist can observe the starting of an entirely new esthetic development, a new form of true beauty in the turmoil of a technical age, created by its very technique and yet more than any other art destined to overcome outer nature by the free and joyful play of the mind,” Munsterberg wrote in The Photoplay: A Psychological Study, considered by many to be the first important behavioral look at film.
But though the research gauntlet had been thrown down, what followed is what one would expect when looking for artistry in a Pauly Shore flick: nothing. Or, at least, very little, says Stuart Fischoff, founder of the Journal of Media Psychology, who in 2003 retired from the psychology department at California State University, Los Angeles. Between 1916, when Munsterberg wrote The Photoplay, and the 1950s, perhaps the most influential psychological research on cinema was L.L. Thurnstone’s 1928 Payne Fund report — a study whose purpose was to indict, not investigate, the role of film on behavior, Fischoff says. In fact, for much of the 20th century, the psychological study of film was considered “lightweight stuff,” says Dolf Zillmann, University of Alabama, one of the field’s pioneers. Film study was approached with a Freudian mindset, and few empirical studies took place. But in the past decade or so, such research has experienced a resurgence — the rare sequel that outperforms the original. “There’s really a new psychology of film in the making,” says Zillmann. Film study from a psychological perspective now takes place in campuses around the country, combining interdisciplinary approaches from several areas, with an increasing focus on the neuroscience of viewer response.
- The culture is unchallenged as the standard setter, and the child’s sense of right and wrong and his priorities in life are shaped primarily by what he learns from the television, the movie screen and the CD player.
- The words "Kiss Kiss Bang Bang," which I saw on an Italian movie poster, are perhaps the briefest statement imaginable of the basic appeal of movies. This appeal is what attracts us, and ultimately what makes us despair when we begin to understand how seldom movies are more than this.
- Pauline Kael, "Kiss Kiss Bang Bang".
- As one industry insider argued, "Saving Private Ryan suffers on [video] cassette. If you see it at home, you are by no means as impressed with it as you were in the movie theater. And Shakespeare in Love is a more intimate picture, it plays well on cassette. It may actually be enhanced by watching it at home."" In response, Dreamworks' marketing chief, Terry Press countered: "That goes to a larger issue. You're a member of the Motion Picture Academy, not the television video academy. These movies are meant to be seen in movie theaters, all of them. They're not meant to be stopped and started and paused when the phone rings or to feed the dog."
- Barbara Klinger, “Beyond the Multiplex: Cinema, New Technologies, and the Home”, University of California Press, 2006, p.2.
- A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what’s behind the emotion, the meaning, all that comes later.
- Stanley Kubrick, Kagan, Norman (1989), The Cinema of Stanley Kubrick, New York: Continuum Books.
- They’re outraged not because of any personal prejudice. They’re outraged because they hate to see any change made on a series and characters they had gotten familiar with. In Spider-Man, when they got a new actor, that bothered them, even though it was a white actor. I don’t think it had to do with racial prejudice as much as they don’t like things changed.
- Stan Lee "Why Fans Are Hating On Michael B. Jordan's Human Torch, According To Stan Lee", Eric Eisenberg, Cinema Blend, 2015.
M - PEdit
- A motion picture must be true to life. If a picture portrays a false emotion it trains people seeing it to react abnormally.
- William Moulton Marston, The Secret History of Wonder Woman (2014) by Jill Lepore, p. 136.
- The talkies are the only art that would attract Leonardo da Vinci were he alive to-day. This art is a baby giant, as clumsy as all babies are...we don't know what the baby will be doing and saying when it grows up. But we are sure it will make its mark in the world.
- William Moulton Marston, The Art of Sound Pictures, (1929)
- Sound and talking undoubtedly increase the entertainment value of a picture. There is a distinct conflict, however, between a pictorial and sound elements, which cannot be entirely avoided until third dimensional pictures are made.
- William Moulton Marston The Secret History of Wonder Woman (2014) by Jill Lepore, p. 139.
- Not even the church is so powerfully equipped to serve the public psychologically as is the motion picture company.
- William Moulton Marston as quoted in Henry W. Levy's, "Professor to Cure Scenarios with Wrong Emotional Content: Dabbled in Movies While at Harvard; Now Sought By Hollywood with Offer of Favorable Contract", New York University News January 1929; The Secret History of Wonder Woman (2014) by Jill Lepore, p. 137.
- If I write a crappy comic book, it doesn't cost the budget of an emergent Third World nation. When you've got these kinds of sums involved in creating another two hours of entertainment for Western teenagers, I feel it crosses the line from being merely distasteful to being wrong. To paint comic books as childish and illiterate is lazy. A lot of comic books are very literate — unlike most films.
- Hollywood, television and film is not my prime area of interest. Because I would never have any control, working in those areas. It’s nice to get the money from a Hollywood project, but whatever they do with it, it would be their piece of work, and not mine.
- Alan Moore De Abaitua interview (1998)
- Originally I was content to just simply accept the money, that was offered when people had adapted my comic books into films. Eventually I decided to refuse to accept any of the money for the films, and to ask if my name could be taken off of them, so that I no longer had to endure the embarrassment of seeing my work travested in this manner. The first film that they made of my work was "From Hell" Which was an adaptation of my "Jack the Ripper" narrative … In which they replaced my gruff Dorset police constable with Johhny Depp's Absinthe-swigging dandy. The next film to be made from one of my books was the regrettable "League of Extraordinary Gentlemen"… Where the only resemblance it had to my book was a similar title. The most recent film that they have made of mine is apparently this new "V for Vendetta" movie which was probably the final straw between me and Hollywood. They were written to be impossible to reproduce in terms of cinema, and so why not leave them simply as a comic in the way that they were intended to be. And if you are going to make them into films, please try to make them into better ones, than the ones I have been cursed with thus far.
- Alan Moore from the BBC2 show The Culture Show (9 March 2006) (separate quotes shown; edited together for the segment of the show)
- Photography because of its causal relationship to the world seems to give us the truth or something close to the truth. I am skeptical about this for many reasons. But even if photography doesn't give us truth on a silver-platter, it can make it harder for us to deny reality. It puts a leash on fantasy, confabulation and self-deception. It provides constraints, borders. It circumscribes our ability to lie — to ourselves and to others.
- There is only one thing that can kill the movies, and that is education.
- Will Rogers (1949) The Autobiography of Will Rogers.
Q - TEdit
- Until about the mid-1930s, law in film was an authoritative and neutral process—a formal and almost religious space—in which truth could be revealed or justice done through heavy-handed elites. Starting from the late-1930s until the post-WWII period—the "film noir" period—film depicted an underside of law, corruption, and unreasonable attachment to formality at the expense of justice. There are a lot of films from this time that depict legal heroes that flout the law to make sure the truth comes out and that depict mobs taking over both the legal process and civil society. In the mid-1950s onward, classical Hollywood cinema took over with its brighter depiction of the promise of law to help the everyday person. It is an evolution that sounds in grassroots democracy, the value of juries, and the promise of individuals to make a difference working within the system. From the late-1980s, many law films were ahead of their time in terms of civil rights, depicting African American judges, female litigators, and a legal system that is open and sufficiently self-reflective to incorporate criticism into its pursuit of justice. You might think of Philadelphia, with Tom Hanks and Denzel Wasghinton, as one of these films, or A Few Good Men, with Demi Moore as Lt. Cmdr. Joanne Galloway and J.A. Preston as Judge Julius Alexander Randolf. TV has followed a similar arc, but with more police serials than courtroom dramas. As you can see from these periods, the themes of film track and help constitute U.S. socio-political culture.
- Jessica Silbey, “What can a crime drama teach us about justice?”, Jason Kornwitz, Phys.org, (July 20, 2016).
- Across all the countries examined, females were underrepresented in the film workforce compared to their actual percentages globally. Discrepancy scores were calculated to determine the degree to which on-screen depictions of occupations differ from real-world values (see Table 6). The scores were grouped into three categories based on the size of the discrepancy: small (5-9.9), moderate (10-19.9), and large (20+). India was the only country in which female film jobs revealed a small difference from the real world. Five countries (Japan, Brazil, U.K., China, Korea) showed moderate differences between movie and actual workforce percentages and five countries (France, Russia, U.S., Australia, Germany) showed large differences. Once again, women are underrepresented on screen. This time they comprise less than a quarter of the workforce in international films, which is well below their share in the real world of work. Given that movies can set an agenda for the next generation entering the workforce, the lack of females in the labor market is a concern. Perhaps even more troubling is the types of occupations women are shown possessing, the topic of the next section.
- Stacy L. Smith, Marc Choueiti, Katherine Pieper, "An Investigation of Female Characyers in Popular Films Across 11 Countries", Geena Davis Institute on Gender in Media, p.9
- Well, Jack Warner may have been celebrated for calling writers "Schmucks with Underwoods," but 20 years earlier, Irving Thalberg … said that "The most important person in the motion picture process is the writer, and we must do everything in our power to prevent them from ever realizing that."
- From the 1960s, cinema was one of the most important aspects of the alliances between Cuba, the USSR and African liberation movements.
Filmmaking - both documentary and fiction - in support of rebellious causes were emerging across the world, from Palestine to Latin America, and young members of guerrilla movements such as the PAIGC's Flora Gomes and Sana Na N'hada were sent to Cuba to learn the language and techniques of Third Cinema, the values of revolution and social justice of which echoed the early, utopian ideals of African anti-colonial struggles.
- Ana Naomi de Sousa, “Between East and West: The Cold War's legacy in Africa”, Al Jazeera, (22 Feb 2016).
- Watching violence in movies or in TV programs stimulates the spectators to imitate what they see much more than if seen live or on TV news. In movies, violence is filmed with perfect illumination, spectacular scenery, and in slow motion, making it even romantic. However, in the news, the public has a much better perception of how horrible violence can be, and it is used with objectives that do not exist in the movies.
- Steven Spielberg, in an interview by the Brazilian magazine Veja (1993).
- I honestly don't understand the big fuss made over nudity and sex in films. It's silly. On TV, the children can watch people murdering each other, which is a very unnatural thing, but they can't watch two people in the very natural process of making love. Now, really, that doesn't make any sense, does it?
- Sharon Tate Sharon Tate and the Manson Murders (2000) by Greg King
- A film is a boat which is always on the point of sinking - it always tends to break up as you go along and drag you under with it.
- Francois Truffaut interview in Peter Graham's The New Wave (1968).
V - ZEdit
- The percentage of people who actually go to a movie theater has declined from a high of 65% of the population in 1930 (before television) to about 10% over the last several decades.
- S. Mark Young, James J. Gong, and Wim A. Van der Stede, “The Business of Making Money with Movies", Strategic Finance, February 2010, p. 37.
- By 1990, movies were either rented or sold at much more reasonable prices directly to consumers (known as sell-through). Video rentals reached a plateau, but video sell-through sales continued to grow. By 1992, the value of video sell-through sales exceeded the domestic theatrical box office for the first time. Home video caused a significant downward shift in the box office; for instance, the domestic box office represented 80% of studio revenues in 1980, but by 1992 it decreased to no more than 25%.
- S. Mark Young, James J. Gong, and Wim A. Van der Stede, “The Business of Making Money with Movies", Strategic Finance, February 2010, p. 38.