The audience will have to focus on the visuals... But they had silent films before talkies arrived, and people went to see them.
Now more than ever we need to talk to each other, to listen to each other and understand how we see the world, and cinema is the best medium for doing this.
If only every man who sees my films did not get the impression he can make love to me, I would be a lot happier.
Previously the same Polish audiences would have been pressured into seeing cinema made for adults, films made by us about those spheres of life that were significant for us and which should be significant for our society.
When I read Thirteen Days I was moved by it. It was just a great time for the world, in terms of looking back in history and seeing how we got ourselves into trouble and how we got ourselves out of trouble.
Of course the French are making very credible movies and it is still one of the greatest nations in terms of world cinema but the real problem is the decay in film criticism.
The film that made the greatest impression was "La roue" by Abel Gance. It made me think cinema was wonderful.
Women were real box office stars in the '40s, more so than men. People loved to see women's films. I think it was better then, except for the studio system.
I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.
I think cinema, movies, and magic have always been closely associated. The very earliest people who made film were magicians.
I deliberately, in a way, went for something that was a huge challenge and was a big period film. I was excited about the canvas on which I could tell the story as much as the story itself.
Why does there exist a global American entertainment industry, but there isn't an equivalent coming from France or Italy? This is the case simply because the English language opens the whole world to the American cinema.
I think there's only one or two films where I've had all the financial support I needed. All the rest, I wish I'd had the money to shoot another ten days.
Do you not see how necessary a world of pains and troubles is to school an intelligence and make it a soul?
At the Sex Institute in Bloomington, Indiana, they were a phenomenal help, too. We went out there for a few days, and they gave us access to materials. And the biographies, there are four or five, ranging from very poor to excellent.
There's so much else to do in the world. To just be interested in doing films would limit my life.
It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.
In this age of consumerism film criticism all over the world - in America first but also in Europe - has become something that caters for the movie industry instead of being a counterbalance.
I must have had faith that day. When I went out, I was Henry Fonda again. An unemployed actor but a man.
A Merchant Ivory film, It's quite hard to finance this kind of film, so there's a sort of pressure to move through the day and get it done.
Actually I did, because I saw the film like everyone else, ten years ago and I remembered some of it. I just wanted to see it, to kind of remember the tone a little bit.
The television industry doesn't like to see the compexity of the world. It prefers simple reporting, with simple ideas: this is white, that's black; this is good, that's bad.
It is the eve of St. George's Day. Do you not know that tonight, when the clock strikes midnight, all the evil things in the world will have full sway?
I want to test my maximum and see how much I can do. And I want to change the world of swimming.
I thought I couldn't afford to take her out and smoke as well. So I gave up cigarettes. Then I took her out and one day I looked at her and thought: "Oh well," and I went back to smoking again, and that was better.