Celluloid Quotes

You used to feed a piece of celluloid into an editor. [Digital] is not expensive and that is an advantage, but I must say that I don't love it.

The tantrums of cloth-headed celluloid idols are deemed fit for grown-up conversation, while silence settles over such a truly important matter as food.

This metropolitan world, then, is a world where flesh and blood is less real than paper and ink and celluloid.

[ Digital revolution ] only has allowed me to work faster, editing digitally, which I'm doing right now, a film on volcanoes. I can edit almost as fast as I'm thinking, editing with celluloid means always searching for this little reel of film, and number it, and scribble on it with some sort of pens, and gluing it together, and working on a flatbed. It's much, much slower.

It doesn't matter whether you shoot on celluloid or on digital, you better make a good film.

You have to remain strong. That's the kind of filmmaker I want to encourage. Orson Welles was the one who said, you know, you can learn anything you need to know about filmmaking- that's camera, sound, celluloid, video at this point- in four hours. It has nothing to do with anything. It has nothing to do with it... It has to do with what you want to say. If you feel you have something to say, you'll find that way to get it said, on film, and not let anyone or anything chip away at that or tarnish it, because it's something special and precious.

Robert Rodriguez, makes a feature film in 35mm celluloid one and a half hours long, and nobody believed him, I think he wrote a book about it and gave all the details of how he spent the money, even making a 35mm celluloid feature film was possible, at least for Rodriguez.

When we die, as when the scenes have been fixed on to celluloid and the scenery is pulled down and burnt — we are phantoms in the memories of our descendants. Then we are ghosts, my dear, then we are myths. But still we are together. We are the past together, we are a distant past. Beneath the dome of the mysterious stars, I still hear your voice.

I don't think that writers or painters or filmmakers function because they have something they particularly want to say. They have something that they feel. And they like the art form; they like words, or the smell of paint, or celluloid and photographic images and working with actors. I don't think that any genuine artist has ever been oriented by some didactic point of view, even if he thought he was.

Filmmakers don't work for posterity. We create with celluloid and chemical pigments that don't last very long. They fade away. In 200 years there will be nothing left of our work but dust.

If the director wishes to print it, then you have a series of choices, maybe millions of choices within that minute-and-a-half, or 80 seconds, or 2 minutes or however long or short the take is, you have all those choices committed to celluloid. I find that absolutely thrilling.

Using film was so much easier than the digital technology of today. But digital is still at the beginning of what it can be and they'll be fixing all those problems. It's just too complicated - negatives, tinting, flashing - it's a whole new system that takes a lot of time. Of course, it's not as physical. Even the editing. You used to feed a piece of celluloid into an editor. [Digital] is not expensive and that is an advantage, but I must say that I don't love it.

I'd always loved movies, but it wasn't some sort of desperate love of celluloid. It was literally like, "I want to write things, and I want people to see them more."

Otherwise [digital revolution] hasn't changed my way of filmmaking, I'm not nostalgic in postulating we should still make films on celluloid. I love celluloid but I don't need to continue on celluloid.

Celluloid heroes never feel any pain.

The wonderful thing about 48 fps is the integration of live action and CG elements; that is something I learned from 'The Hobbit.' We are so used to 24 fps and the romance of celluloid but at 48 fps, you cannot deny the existence of these CG creations in the same time frame and space and environment as the live action.

I prefer theater, but I love to do films, and I prefer theater primarily because I've done more. I know less about movies. You can't lie in either medium. The wonderful thing is that the camera, just like an audience, is made out of skin - because celluloid is skin.

Ecstasy is not really part of the scene we can do on celluloid.

Remember, science fiction's always been the kind of first level alert to think about things to come. It's easier for an audience to take warnings from sci-fi without feeling that we're preaching to them. Every science fiction movie I have ever seen, any one that's worth its weight in celluloid, warns us about things that ultimately come true.

Anybody with any sense knows the whole solar system will go up like a celluloid collar by-and-by.

The most expensive habit in the world is celluloid, not heroin, and I need a fix every few years.

Acting is fantastic, but to be able to create a whole world on celluloid is amazing. It's like taking your dreams straight from your head and projecting them onto a screen.

My movies are film-paintings - moving portraits captured on celluloid. I'll layer that with sound to create a unique mood -- like if the Mona Lisa opened her mouth, and there would be a wind, and she'd turn back and smile. It would be strange and beautiful.

I always loved celluloid cameras in the early days that were sturdy and reliable. Even under tropical conditions and downpour of rain, it would still work.

I was born with this bow tie made of celluloid on my collar.

The movies are celluloid hemorrhoids. No, worse: They're celluloid Bon Jovi.

This is a career about images. It's celluloid; they last for ever. I'm a black woman from America. My people were slaves in America, and even though we're free on paper and in law, I'm not going to allow you to enslave me on film, in celluloid, for all to see.

Celluloid will be the next decade's black and white.

The cinema began with a passionate, physical relationship between celluloid and the artists and craftsmen and technicians who handled it, manipulated it, and came to know it the way a lover comes to know every inch of the body of the beloved. No matter where the cinema goes, we cannot afford to lose sight of its beginnings.

This award is meaningful because it comes from my fellow dealers in celluloid.

As a career, the business of an orthodox preacher is about as successful as that of a celluloid dog chasing an asbestos cat through hell.

Narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verité is film in its purest form. You're taking random images and creating meaning out of random images, telling a story, getting meaning, capturing something that's real, that's really happening, and render this celluloid sculpture of this real thing. That's what really separates the power of doc filmmaking from fiction.

I want to be an artist, not an erotic freak. I don’t want to be sold to the public as a celluloid aphrodisiac.

I want to be an artist, not... a celluloid aphrodisiac.

My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.

I am a fan of movies and there is something about watching film that is burned into celluloid for all time that is now a piece of history. You go watch, being a fan of classic films and my children and their children are going to be watching these movies.

I like celluloid, I like film, I like the way that when a movie is projected it sort of breathes a little in the gate. That's the magic of it to me.