"The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn’t."

"[Steven Spielberg's films] are comforting, they always give you answers and I don't think they're very clever answers. … The success of most Hollywood films these days is down to fact that they're comforting. They tie things up in nice little bows and give you answers, even if the answers are stupid, you go home and you don't have to think about it. … The great filmmakers make you go home and think about it."

"Nooo! Leave that to George Lucas, he' s really mastered the CGI acting. That scares me! I hate it! Everybody is so pleased and excited by it. Animation is animation. Animation is great. But it's when you're now taking what should be films full of people, living thinking, breathing, flawed creatures and you're controlling every moment of that, it's just death to me. It's death to cinema, I can't watch those Star Wars films, they're dead things."

"Frivolity, sensuality, indecency, appalling illiteracy and endless platitude are the marks of the degenerate American Theater under Jewish control. [...] it is quite possible that many who read this are not interested in the theater, and are, in fact, convinced. that the theater and cinema are a menace. But, what principally makes these things a menace? This-that the stage and cinema today represent the principal cultural element of 90 percent of the people. What the average young person absorbs as to good form, proper deportment, refinement as contrasted with coarseness, correctness of speech or choice of words, customs and feelings of other nations, fashion of clothes, ideas of religion and law, are derived from what is seen at the cinema and theater. The masses' sole idea of home and life of the rich is derived from the stage and the movies."

"A good opening and a good ending make for a good film provide they come close together."

"The public has lost the habit of movie-going because the cinema no longer possesses the charm, the hypnotic charisma, the authority it once commanded. The image it once held for us all, that of a dream we dreamt with our eyes open, has disappeared. Is it still possible that one thousand people might group together in the dark and experience the dream that a single individual has directed?"

"Cinema is an old whore, like circus and variety, who knows how to give many kinds of pleasure."

"I always say a screenplay is the big plain pizza, the one with tomatoes and cheese. And then the director comes and says, “You know, it needs some mushrooms.” And you go, “Put mushrooms on it.” And then the costume designer throws peppers on it, and – and pretty soon, you have a pizza with everything on it. And sometimes it’s the greatest pizza of your life and sometimes you think, “Well, that was a mistake. We should have left it with only the mushrooms.”"

"… a pastime for helots, a diversion for uneducated, wretched, worn-out creatures who are consumed by their worries, … a spectacle which requires no concentration and presupposes no intelligence,… which kindles no light in the heart and awakens no hope other than the ridiculous one of someday becoming a ‘star’ in Los Angeles."

"I can no longer think what I want to think. My thoughts have been replaced by moving images."

"The easiest way to inject a propaganda idea into most people’s minds is to let it go through the medium of an entertainment picture when they do not realize that they are being propagandized."

"A message I’ve been telling myself: the cinema is very conservative, and unless you have a story that satisfies you, that is within the unchallenging zone, but you love it, you can’t do it as cinema. Otherwise, you better go do it for television, which is more daring now."

"I'm going to leave you with this machine, pay attention, she's going to ask you a bunch of questions."

"A film is a petrified fountain of thought."

"According to Rentrak, American studio titles accounted for 39 percent of Chinese ticket sales in 2013, down from 44 percent a year earlier. Speaking in October, Rob Cain, a producer and consultant with considerable experience in China, said the American share was back to almost 44 percent. Of nine films to take in more than $100 million at the Chinese box office at that point, five were Chinese films. But an expected strong performance by Paramount’s “Interstellar” will probably keep the American share relatively high through the year’s end, Mr. Cain said. China, aside from a deeply rooted, action-oriented Hong Kong movie culture, has yet to become a powerful exporter of film. To date, it has been more like India, a prolific producer whose wares are mostly viewed within its borders, and among a vibrant diaspora around the world."

"In all, markets outside the United States accounted for roughly $25 billion of $35.9 billion in worldwide box-office sales last year, according to the Motion Picture Association of America. Precisely what share of international sales was captured by American-based companies is unclear, but they remained dominant. Still, Jonathan Wolf, the American Film Market’s managing director, has been watching what he calls “a global shift away from U. S. product over the last 25 years.” Government subsidies for local film have changed tastes in some regions of the world. That shift, and a new generation of television-trained international filmmakers, Mr. Wolf said, have slowly undermined American-based film in ways that will again be apparent at this year’s market. Over a decade, he noted, English-language film exporters have dropped to about 63 percent from 73 percent among those at his event, while United States-based exporters now account for roughly 47 percent of the American Film Market’s pool, down from 53 percent 10 years earlier."

"Sometimes watching a movie is a bit like getting raped."

"I have never heard of any youngster going wrong, turning to crime, because of the movies. It simply isn't possible. Our relation to crime is, in a sense, the same as the prison warden's. We don't create it. We deal with it after it has happened, and we always make the criminal look bad."

"While people are always quick to take up the cudgels against censorship of the press, or radio, any crackpot can advocate new forms of censorship for the movies, and not a voice is lifted in protest. There's something illogical about this indifference to censorship of the movies. After all, it's just as much a medium of public expression as are the radio and newspapers."

"The Government controlled the film stock supply at this time and all film scripts for films to be made in the UK had to be submitted to the Ministry of Information. If a film was not approved then no film stock would be supplied. In 1939 the BBFC still operated under the broad guiding principles of former President TP O’Connor’s list of ‘grounds for deletion’ which were first published in 1916. These essentially barred: * References to controversial politics * Relations of capital and labour * Scenes tending to disparage public characters and institutions * Realistic horrors of warfare * Scenes and incidents calculated to afford information to the enemy * Incidents having a tendency to disparage our Allies * Scenes holding up the King’s uniform to contempt or ridicule * The exploitation of tragic incidents of the war The aim of all these constraints was to try and ensure that the kinds of films that came out during this period dealt with war in ways that were unlikely to be particularly upsetting or challenging for audiences."

"At the outbreak of war in 1939, the power of the feature film, as a means of communication and persuasion rather than just a vehicle for entertainment, was already well established. One of the earliest programmes of study into the effects of the moving image upon the mind had been carried out by the Payne Fund between 1929 and 1932. The experiments that it carried out concentrated on such issues as the extent to which children learnt from film and how well they retained what they learnt; the possibility that exposure to film affected attitudes; and how moral standards might be affected by what was viewed. The findings of these studies showed that the human mind could be shaped and moulded by persons in positions of influence; and, in this context, the film maker was in an almost unique position of influence."

"But films . . . it’s funny. People buy a ticket. That ticket is their transport to a fantasy which you create for them. Fantasyland, that’s all, and you make their fantasies live. Fantasies of love or hatred or whatever it is. People want their fantasies over and over. People who masturbate usually masturbate with, at the most, four or five fantasies. By and large. Most people like the same food and they like the same kind of music, they like the same kind of sexual fantasy for a period of time, then maybe it changes. As it is in children. Who is it? Bruce Lee. That’s the hero. Then you grow up and grow out of your Bruce Lee period, or your Picasso Blue Period, and go into another period. “But with kids, because they outpower us, because they have no representation, because they are so dependent, all they think about is power. Dinosaurs or the Million Dollar Man, because they feel so helpless, because they have no way out of it, except fantasy. Because they are only that tall. “And that’s all films are. Just an extension of childhood, where everybody wants to be freer, everybody wants to be powerful, everybody wants to be so overwhelmingly attractive that there’s just no doing anything about it. Or everybody wants to have comradeship and to be understood."

"The identity-obsessed left has consistently sneered at those who want accuracy in casting decisions, pretending all criticism of politically motivated choices is based on bigotry or sexual frustration."

"The mass is a matrix from which all traditional behavior toward works of art issues today in a new form. Quantity has been transmuted into quality. The greatly increased mass of participants has produced a change in the mode of participation."

"Photography and cinema contributed in large part to the secularization of history, to fixing it in its visible, "objective" form at the expense of the myths that once traversed it. Today cinema can place all its talent, all its technology in the service of reanimating what it itself contributed to liquidating. It only resurrects ghosts, and it itself is lost therein."

"The optimist looks at the world through rose-tinted spectacles."

"When you're a kid that sees through plastic With a harness of elastic So the girls all think you're icky And the boys all think you're queer"

"Men seldom make passes At girls who wear glasses."

"Rose-colored glasses are never made in bifocals. Nobody wants to read the small print in dreams."

"Humans need technology. It’s the one thing that we do better than any other animal. We communicate, cooperate, and make tools to extend our reach. Every new tool changes us."

"What is peculiar and new to the [19th] century, differentiating it from all its predecessors, is its technology. It was not merely the introduction of some great isolated inventions. It is impossible not to feel that something more than that was involved. ... The process of change was slow, unconscious, and unexpected. In the nineteeth century, the process became quick, conscious, and expected. ... The whole change has arisen from the new scientific information. Science, conceived not so much in its principles as in its results, is an obvious storehouse of ideas for utilisation. ... Also, it is a great mistake to think that the bare scientific idea is the required invention, so that it has only to be picked up and used. An intense period of imaginative design lies between. One element in the new method is just the discovery of how to set about bridging the gap between the scientific ideas, and the ultimate product. It is a process of disciplined attack upon one difficulty after another This discipline of knowledge applies beyond technology to pure science, and beyond science to general scholarship. It represents the change from amateurs to professionals. ... But the full self-conscious realisation of the power of professionalism in knowledge in all its departments, and of the way to produce the professionals, and of the importance of knowledge to the advance of technology, and of the methods by which abstract knowledge can be connected with technology, and of the boundless possibilities of technological advance,—the realisation of all these things was first completely attained in the nineteenth century."

"Civilization advances by extending the number of important operations which we can perform without thinking of them."

"I don’t think there is, or ever again can be, a cure for unemployment. Unemployment is not a disease, but the natural, healthy functioning of an advanced technological society."

"Theobald points out that every individual should be assured of a minimum income. Now, you see, that absolutely horrifies most people. "Say, all these wastrels, these people who are out of a job because they're really lazy, see... ah, giving them money?" Yeah, because otherwise the machines can't work. They come to a blockage. This was the situation of the Great Depression, when here we were still, in a material sense, a very rich country, with plenty of fields and farms and mines and factories... everything going. But suddenly, because of a psychological hang-up, because of a mysterious mumbo-jumbo about the economy, about the banking, we were all miserable and poor—starving in the midst of plenty. Just because of a psychological hang-up. And that hang-up is that money is real, and that people ought to suffer in order to get it. But the whole point of the machine is to relieve you of that suffering. It is ingenuity. You see, we are psychologically back in the 17th century, and technically in the 20th. And here comes the problem. So what we have to find out how to do is to change the psychological attitude to money and to wealth, and furthermore to pleasure, and furthermore to the nature of work."

"Now what happens then when you introduce technology into production? You produce enormous quantities of goods by technological methods, but at the same time you put people out of work. You can say, "Oh but it always creates more jobs. There will always be more jobs." Yes, but lots of them will be futile jobs. They will be jobs making every kind of frippery and unnecessary contraption, and one will also at the same time have to beguile the public into feeling that they need and want these completely unnecessary things that aren't even beautiful. And therefore an enormous amount of nonsense employment and busy work, bureaucratic and otherwise, has to be created in order to keep people working, because we believe, as good Protestants, that the devil finds work for idle hands to do. But the basic principle of the whole thing has been completely overlooked, that the purpose of the machine is to make drudgery unnecessary. And if we don't allow it to achieve its purpose, we live in a constant state of self-frustration. So then, if a given manufacturer automates his plant and dismisses his labor force, and they have to operate on a very much diminished income (say, some sort of dole), the manufacturer suddenly finds that the public does not have the wherewithal to buy his products. And therefore he has invested in this expensive automotive machinery to no purpose. And therefore obviously the public has to be provided with the means of purchasing what the machines produce. People say, "That's not fair. Where's the money going to come from? Who's gonna pay for it?" The answer is the machine. The machine pays for it, because the machine works for the manufacturer and for the community."

"Give me the third best technology. The second best won't be ready in time. The best will never be ready."

"Our attention will focus on the institutional context of technological innovation rather than ... individual inventors, for the actual course of work that leads to the conception and use of technology always involves a group that has worked for a considerable period of time on the basic idea before success is achieved."

"I have argued above that we cannot prevent the Singularity, that its coming is an inevitable consequence of the humans' natural competitiveness and the possibilities inherent in technology. And yet ... we are the initiators. Even the largest avalanche is triggered by small things. We have the freedom to establish initial conditions, make things happen in ways that are less inimical than others. Of course (as with starting avalanches), it may not be clear what the right guiding nudge really is..."

"Here I had tried a straightforward extrapolation of technology, and found myself precipitated over an abyss. It's a problem we face every time we consider the creation of intelligences greater than our own. When this happens, human history will have reached a kind of singularity — a place where extrapolation breaks down and new models must be applied — and the world will pass beyond our understanding."

"The "hard" science-fiction writers are the ones who try to write specific stories about all that technology may do for us. More and more, these writers felt an opaque wall across the future. Once, they could put such fantasies millions of years in the future. Now they saw that their most diligent extrapolations resulted in the unknowable ... soon."

"For perhaps the first time in history, we have the resources, the know-how and the technology to make starvation and dependency relics of the past. But do we have the will?"

"I should regard them [the Elves interested in technical devices] as no more wicked or foolish (but in much the same peril) as Catholics engaged in certain kinds of physical research (e.g. those producing, if only as by-products, poisonous gases and explosives): things not necessarily evil, but which, things being as they are, and the nature and motives of the economic masters who provide all the means for their work being as they are, are pretty certain to serve evil ends. For which they will not necessarily be to blame, even if aware of them."

"Technology is a useful servant but a dangerous master."

"Technology feeds on itself. Technology makes more technology possible."

"Today, nothing is unusual about a scientific discovery's being followed soon after by a technical application: The discovery of electrons led to electronics; fission led to nuclear energy. But before the 1880's, science played almost no role in the advances of technology. For example, James Watt developed the first efficient steam engine long before science established the equivalence between mechanical heat and energy."

"Today's science is tomorrow's technology."

"Technology ... is a queer thing. It brings you great gifts with one hand, and it stabs you in the back with the other."