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“The mole is an animal that digs passages searching for the sun. Sometimes he reaches the surface. When he looks at the sun he goes blind.”
― Alejandro Jodorowsky

“I would rather be told an R-rated truth than a G-rated lie.”
― Ken Gire

“The film is the first art form capable of demonstrating how matter plays tricks on man.”
― Walter Benjamin

“Borges is particularly stimulating to a man who works in the cinema, because the unusual thing about his writing is that it is like a dream, extraordinarily farsighted in calling up from the unconscious complete images in which the thing itself, and its meaning, coexist - exactly as happens in a film. And, just as happens in dreams, in Borges the incongruous, the absurd, the contradictory, the arcane and the repetitive, although as powerfully imaginative as ever, are at the same time illumined like the careful details of something larger, something unknown, and are the faultless elements of a cruelly perfect, indifferent mosaic. Even the fact that Borges's work is strangely fragmentary makes me think of a broken dreamlike flow; and the heterogeneous quality of his work - stories, essays, poems - I prefer to see not as the union of the multiple threads in a greedy, impatient talent, but as a mysterious sign of unending change.”
― Federico Fellini

“Summer movie idea: take all the sequels that are out right now, and make movies about their backstories.”
― Stephen Colbert

“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 My thoughts have been replaced by moving images.”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

“I submit that the real reason we criticized and disliked Lynch's Laura's muddy bothness is that it required of us an empathetic confrontation with the exact same muddy bothness in ourselves and our intimates that makes the real world of moral selves so tense and uncomfortable, a bothness we go to the movies to get a couple hours' fucking relief from.”
― David Foster Wallace, A Supposedly Fun Thing I'll Never Do Again: Essays and Arguments

“I'm lucky enough to be able to make films and so I don't need a psychiatrist. I can sort out my fears and all those things with my work. That's an enormous privilege. That's the privilege of all artists, to be able to sort out their unhappiness and their neuroses in order to create something.”
― Michael Haneke

“In order to get [Mean Streets] made I had to learn how to make a movie," says Scorsese. "I didn't learn how to make a movie in film school. What you learned in film school was to express yourself with pictures and sound. But learning to make a movie is totally different.”
― Peter Biskind, Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock 'n' Roll Generation Saved Hollywood

“The function of camera movement is to assist the storytelling. That's all it is. It cannot be there just to demonstrate itself.”
― Mike Figgis, Digital Filmmaking

“To paraphrase Muggeridge: Everything is a parable that God is speaking to us, the art of life is to get the message.”
― Chester Elijiah Branch

“I admire nudity and I like sex, and so did a lot of people in the Thirties. But, to me, overexposure blunts the fun…Sex as something beautiful may soon disappear. Once it was a knife so finely honed the edge was invisible until it was touched and then it cut deep. Now it is so blunt that it merely bruises and leaves ugly marks. Nudity is fine in the privacy of my own bedroom with the appropriate partner. Or for a model in life class at art school. Or as portrayed in stone and paint. But I don’t like it used as a joke or to titillate. Or be so bloody frank about.”
― Mary Astor, A Life On Film

“OK, publishing a book and releasing a movie is all very well, but Tottenham beating Man. U. 3-2... priceless.”
― Salman Rushdie

“And we hate this possibility in movies; we hate this "both" shit. "Both" comes off as sloppy characterization, muddy filmmaking, lack of focus. ... But I submit that the real reason we criticized and disliked Lynch's Laura's muddy bothness is that it required of us an empathetic confrontation with the exact same muddy bothness in ourselves and our intimates that makes the real world of moral selves so tense and uncomfortable, a bothness we go to the movies to get a couple hours' fucking relief from.”
― David Foster Wallace, A Supposedly Fun Thing I'll Never Do Again: Essays and Arguments

“Out of the ugliness of the ironworks lepers will eat, children will be born, their parents will grow old.”
― Helen McCarthy, Hayao Miyazaki: Master of Japanese Animation

“Painting, by its nature, cannot provide an object of simultaneous collective reception... as film is able to do today... And while efforts have been made to present paintings to the masses in galleries and salons, this mode of reception gives the masses no means of organizing and regulating their response. Thus, the same public which reacts progressively to a slapstick comedy inevitably displays a backward attitude toward Surrealism.”
― Walter Benjamin, The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media

“I made my first film on 16mm. Then I began using 35mm.Then I began working in Hollywood. And I began to really understand how films were made by professionals. I have to say I wasn't very impressed.”
― Mike Figgis, Digital Filmmaking

“Ale tak naprawdÄ™ robiÄ™ filmy, bo nie umiem nic innego. To byÅ‚ zÅ‚y wybór, którego kiedyÅ› dokonaÅ‚em. Wtedy prawdopodobnie nie mógÅ‚ być inny. Dzisiaj wiem, że byÅ‚ zÅ‚y. To jest ³ú²¹·Éó»å, który jest bardzo trudny. Jest bardzo stresujÄ…cy, bardzo mÄ™czÄ…cy a daje nieproporcjonalnie maÅ‚o satysfakcji w stosunku do tego wysiÅ‚ku, który mu siÄ™ poÅ›wiÄ™ca.”
― Krzysztof KieÅ›lowski, Autobiografia

“Today’s youngsters will unfortunately never know the thrills we experienced dubbing movies in the era of Rashomon.”
― Teruyo Nogami, Waiting on the Weather: Making Movies with Akira Kurosawa

“A brick is a biographical film in which a young orphan brick from the wrong side of the track grows up to be one of the most important bricks in all brick kind, as it is now quite literally the cornerstone of one of America’s greatest ballparks.(Fenway)”
― Nicole McKay, A bit of rubbish about a Brick and a Blanket

“Films are not primarily an entertainment medium. They are weapons. If you understand that, then you are ready to pursue filmmaking as a vocation.”
― Isaac Botkin, Outside Hollywood: The Young Christian's Guide to Vocational Filmmaking

“For the casual viewer, Kurosawa’s films can be an exercise in endurance.”
― Jerry White, The Films of Kiyoshi Kurosawa: Master of Fear

“Kon’s films present a fractured, multifaceted world in which everyone has their own different reality.”
― Andrew Osmond, Satoshi Kon: The Illusionist

“While the characters drive the epic story of Robotech, it’s the robotic mecha that capture the imagination.”
― Tommy Yune, The Art of Robotech: The Shadow Chronicles

“Stahl trailed him upstairs, across a mezzanine, and out into the darkness of the sloping balcony. Tom gave the aisle his torch so his guest could see. On the screen below a woman's head was wavering, two or three times larger than life. A metallic voice clanged out, echoing sepulchrally all over the house, like a modern Delphic Oracle. 'Go back, go back!' she said. 'This is no place for you!'

Her big luminous eyes seemed to be looking right at Lew Stahl as she spoke. Her finger came out and pointed, and it seemed to aim straight at him and him alone. It was weird; he almost stopped in his tracks, then went on again. He hadn't eaten all day; he figured he must be woozy, to think things like that. ("Dusk To Dawn")”
― Cornell Woolrich