ather than Eisenstein's fast and hard cutting, I like to hold the shot very still and for longer than we're accustomed to. For me personally as a viewer, this technique invariably causes me to have waves of emotions that I think arise from a profound form of mindful awareness and the feelings that go along with that. I am frequently brought to tears by this kind of existential cinematic technique.
My songs are cinematic so they seem to reference a glamorous era or fetishize certain lifestyles, but that's not my aim.
I don't think I'm more of a screenwriter than I am a fiction writer. I'm more of a reader than a film-watcher, so I imagine that I'm not approaching fiction or films in a particularly cinematic way.
I really think that the Jersey Boys musical - and this is just my opinion - lends itself to being cinematic in some way, because its a jukebox musical; the characters break into song only for the scene transitions.
When working on a period, it is the finer details that evoke imagery that helps in cinematic adaptations.
The living room is a monument to my impulsive spending habits. I've got more than two hundred DVDs, including cinematic greats such as Monkey Bone, Corkey Romano, and A Night at the Roxbury, leading me to believe not only do I have awful taste in films, but I also have a Chris Kattan fixation. What I don't have is $4000 earing intrest in a money market account.
Even the best documentaries reach tens of thousands in their cinematic window. I believe that by launching online, we could potentially reach millions.
My cinematic crush has been pretty much the same since I was 12: Kevin Costner.
I think it[3D] should be used as a new artistic form, not as a gimmick, not to impress you but the existence of an environment that you view as a theatrical dramatic experience is - you don't just have the X-Y axis, you have the Z and that makes a difference. You still have the framing, you still use lenses, so most of the cinematic rules and languages still apply but I think it's a different existence.
First of all, on a cinematic [level], the film answer to that is that Roger Corman was creatively responsible for a lot of cinema history.
I am surely a feminist filmmaker, but not because I set out to become one, or am trying to make any kind of statement. Rather, it's inherent in the act of expressing myself, as a woman who is deeply alienated from mainstream cinematic structures of seeing. I express myself and am instantly feminist.
If I never do another movie, I will have had the privilege of working on one of the big Hollywood movies with top people, creating a world that can only be described as totally cinematic
Lawrence of Arabia is the ultimate movie, deeply cinematic.
Honestly, I love movies so much that I don't really have a favorite type. It's all script-related. Whatever genre it is, if it's cinematic at all or has a tone and a feel that I think is gonna be exciting to put up on screen, then I'm there and I'll put everything I have into it.
I love it when television is shot in a cinematic way and I think to aspire to that is no bad thing.
I think making a great action movie is one of the hardest cinematic endeavors. By definition, smart characters avoid action. Smart people don't go down dark alleys, but if you're making an action movie and you want to have an action sequence, somehow you have to get that character into that dangerous situation.
When I create a collection, I approach it with a cinematic point of view-I am not designing clothes, I'm creating a world.
TV has a longer narrative, and TV's more like short stories. So there's less rules with TV; you can make it a little bit different. [With] movies, the medium has more constraints, so it was just about what stories are the most cinematic and the best resolution.
I think I'm really drawn to filmmakers and artists who are kind of pathologically incapable of thinking straightforward about film, and about life as well, who cannot help but think laterally, think sideways about an approach to anything cinematic.
I've always approached television from a little more cinematic perspective, if not a much more cinematic perspective because of the shows I have been fortunate enough to work on.
