43 quotes found
"Son, I don't have money even to buy poison.Please help –"
"I have to keep making films in my country so that it gets established as an industry at home."
"While the film Life of Christ was rolling past before my eyes I was mentally visualizing the gods, Shri Krishna, Shri Ramachandra their Gokul and Ayodhya.. I was gripped by a strange spell. I bought another ticket and saw the film again. This time I felt my imagination taking shape in the screen.Could this really happen? Could we the sons of India, ever be able to see Indian images on the screen. The whole night passed in this mental agony."
"During this period I was constantly preoccupied with the analysis of every film, which I saw, and in considering whether I could make them here. There was no doubt whatsoever about the utility of the profession and its importance as an industry...this was the period of the Swadeshi movement and there was profuse talking and lecturing on the subject. For me personally, this led to the resignation of my comfortable government job and taking to an independent profession. I took this opportunity to explain my ideas to my friends and leaders of the Swadeshi movement. Even people who were familiar with me for 15 years found my ideas impracticable."
"Those who are susceptible to depravity do not need cinema or theatre to mislead them. There are numerous other factors which lead to immorality."
"Yes, there is a stamp in his honour, some roads, and Mumbai's film city is dedicated to him. There are statues in Mumbai and Nashik, besides the annual top film honour and other token international recognition. However, we think both Dadasaheb and Saraswati deserve a Bharat Ratna and we must be invited to witness the presentation. The centenary year of Indian cinema is the most appropriate occasion."
"He brought the first movie camera from Germany, but nobody knows what happened to it afterwards. Maybe it is lying with some antique collector. There were absolutely no film-making facilities - production or distribution - available as people believed films had no future. But, whatever he did from scratch set a precedent for the future generations of film-makers."
"The inspiration for the film came from Dadasaheb Phalke. His adventure of film making is the basis of the film, says Paresh Mokashi, director and writer of the film. Harishchandrachi Factory — which faced competition from 15 films including New York and Delhi 6 — captures the first two years of Phalke's cinematic career. The two-hour-long film starts with Phalke giving up his printing business after a fight with his partner. Soon, he accidentally comes across a tent theatre, screening a silent film. An awestruck Phalke decided to make a film and was encouraged by his wife and two enthusiastic children. The Oscar-nominated film ends with Phalke delivering Indian film industry's first hit using his advertising acumen."
"He produced, directed, processed and did everything to make the first Indian feature film Raja Harishchandra. Unlike most film makers of those days, Phalke did not have the westernized audience in mind. His vision was to use the medium to narrate an Indian story to the audience."
"As Gandhi refashioned the world of protest, another man was reinventing story telling. In 1913, Dhund Raj Govind Phalke or Dadasaheb Phalke as he came to be later known as, made the first full length feature film Raja Harsihchandra. Within seven years there was a regular film industry functioning in the country with Bombay as its main player."
"I am showing the Old West as it really was. Cinema takes violence from life. Not the other way around. Americans treat Westerns with too much rhetoric."
"Even in the greatest Westerns, the woman is imposed on the action, as a star, and is generally destined to be “had” by the male lead. But she does not exist as a woman. If you cut her out of the film, in a version which you can imagine, the film becomes much better. In the desert, the essential problem was to survive. Women were an obstacle to survival! Usually, the woman not only holds up the story, but she has no real character, no reality. She is a symbol. She is there without having any reason to be there, simply because one must have a woman, and because the hero must prove, in some way or another, that he has "sex-appeal.""
"Apart from the president Berlusconi, who is always the top, I see Brunetta very active, I would like very much to be the protagonist of a porn. I would like to take Brunetta back with the cameras, I see it, he is always pissed off. We always use tall and sometimes dwarf models, he would be fun. Because you don't have to lower it and it becomes cool to take it back. It would be the number one, the number one, also because it comes from the school of Berlusconi. I'm sure it's not complex and doesn't hold back, because it has self-esteem that's important for a porn movie."
"[About the experience in a gay porn movie] There were times, in my life, that it wasn't me who decided, but my body. I recently saw Shame, by Steve McQueen, and that movie represents my path. I, compared to many other actors, I never had problems shooting scenes where maybe my side was stimulated and I always found ridicule, believe me, all that "machismo"."
"Thanks mom, thanks dad for the bird you gave me. (from Lo Zoo 105 )"
"Power is the highest expression of perversion."
"In my opinion, Boschi is a real pig, an animal. With her it would be fun. A Renzi like the "potato", but definitely not a large pig, is one that goes on the traditional. While Grillo is a big one, one who has a lot of fun with the gnocca."
"[On Marco Travaglio] I would see him in a porn but in a somewhat alternative genre, not the ones I would do. I don't see him very active on a sexual level, it seems more passive than active. WhileI like Sallusti , he is very animal, he has 100 percent hormones. Like Santanchè."
"[On his heir] My wife constantly tells me to stop looking for him, because he doesn't exist."
"[In response to a producer who had asked him to make a gay porn movie] I'm sorry but I like pussy. (from Lo Zoo 105 )"
"[In answer to the question of whether the penis is too big to scare women] "Rocco you hurt me, don't put it in, make it easy, do it slowly ...", but then they never tell me: "Take it off!""
"[In response to the question of what a woman must do in bed] Allow yourself, without limitation, with your partner."
"When I put the penis in the vulva of my partner, strangely she almost always makes a comparison with a dildo ... my chapel is too big not to enjoy. (from "The Zoo of 105")"
"Hard was what I wanted to do as a kid. I started in 1985 in Paris, when the videocassette was not yet "protagonist"; at the time, hard films were only shown in cinemas and it was therefore very difficult to know the producers of the films as it was "forbidden" to approach this world."
"I remember as a child I read the abandoned porn magazines on the edge of Ortona's country roads, thrown away by truck drivers."
"The hard has become a real industry; he thinks that ten thousand films are produced in the United States and as many in Europe."
"The working rhythms are exhausting, so much so that the average life of an actress is only six months; for an actor, on the other hand, if he can manage himself without being fooled by the initial euphoria and the consequent physical decline, he can be better ..."
"Certainly it is a work that is learned, one must be gifted and not only from the sexual point of view, an element that is not the most important; you have to be naturally taken to sex and then there's a technique to learn, since the scene doesn't last ten minutes and you can't reach orgasm whenever you want."
"In fact, the most difficult thing for a director like me is to find the right people; it is enough to put in a group a man or a woman or a wrong person that everything is compromised."
"Currently, in this phase of much work, it is the lack of men. There is a lot of demand for films but few are really able to stay on a set and perform this profession. Instead, there are so many girls, also because of the short professional life of an actress."
"The real problem in Italy is the wall on the subject: I worked with the French (the numbers one for the hard), the Americans, the Spaniards, the Germans but only the Italians make a thousand problems ..."
"I have always defined myself halfway between an animal and a man, however in full respect of others. I am a pure instinct and I act as such. Thinking of an animal, I love monkeys ..."
"A man, a Walter. (Luciana Littizzetto)"
"Always remember that the only riches we possess are the dreams we have as children. They are the fuel of our lives, the only force that pushes us to keep on going even when things have gone all wrong."
"Just work, work, work, even at the risk of making mistakes. And if and when you do make mistakes, and you do hurt someone, ask for forgiveness. Asking forgiveness and admitting you've made a mistake is the hardest thing of all. But if someone else does you good, remember it always. Showing gratitude is every bit as complicated."
"Every one of us has already experienced thousands of last times without even realizing it. Most of the time, in fact, you never even imagine that what you're experiencing is the last time."
"Trust yourself. Even if you're really, really scared, never let on that you are."
"The funny side is repressed inside myself somehow, but it was always there. I think it's from my mother's side, she was always funny and making jokes, so I didn't suffer at all! When I get together with Bud, something just clicks and we are funny."
"Dante's relationship with women is very complex, because the range of real women in Dante's life and in Dante Alighieri's imagined life is very different. There is an idealization of women that occurs when he is nine years old. He lost his real mother when he was five years old, so he is the son of a father and a stepmother. The neighbors of the Portinari family had six daughters and one of these is Beatrice, a nine-year-old girl, her age. Dante meets her gaze and from that moment he becomes almost a prisoner of that gaze, which is why nine is Beatrice's magic number, because he meets her at nine years old. The Poet follows her to Florence for another nine years, without ever receiving encouragement from her, until at eighteen, before entering the church where the girl goes every evening in Santa Margherita dei Cerchi which is the Portinari church, suddenly he decides to stop, look at him and smile at him and says "I greet you" which is the only phrase Dante will hear from Beatrice. Dante remains completely satisfied by this smile and considers it the sealing of a relationship that has had no other type of concretization, nothing else, just this look and this greeting. He tells this story in this wonderful diary which is the Vita Nova, a set of poems and prose writings that he wrote in the aftermath of Beatrice's death."
"(Referring to the scoutism) I believe I have had, in that world, experiences that neither family nor school can offer you. Like the "campfires" before going to sleep. Those were also moments of socialization. Which could be playful, cheerful, with skits and jokes. But also very serious: moments in which we discussed each other, talked about each other, confided in each other, knowing that no one would ever make fun of what they felt. If I am a person who has a certain ease in talking about himself without hiding his own weaknesses and mistakes, I owe it to those moments there, to the "campfires"."
"In my life, right after my parents I put scoutism They taught me two things above all. The first is that we need to give meaning to each of our days. The second is the sacredness of life, one with the sacredness of nature."
"Je ne suis pas un pessimiste: c'est une forme d'optimisme, selon moi, de voir aussi le mal."
"Non sono un pessimista: vedere anche il male è, a mio parere, una forma di ottimismo."