Movies are something people see all over the world because there is a certain need for it.

Neither Rainer Werner, nor any of us could have succeeded, or produced the number of films that we did, just on our own. We showed our films to each other, discussed them vigorously and rarely agreed.

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.

But I think that the spirit of protectionism would be the grave of European cinema. You cannot protect something by building a fence around it and thinking that this will help it survive.

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.

On the contrary a film can promote the idea of change without any political message whatsoever but in its form and language can tell people that they can change their lives and contribute to progressive changes in the world.

In the late 1980s the amount of German films was down to four or five percent of the market, and the remaining 95 percent were American. It is now 20 to 30 percent German productions.

The Cuban people have an amazingly strong and unbroken spirit.

So I am getting a little bored with defining one type of film as American and the other European or from somewhere else because the division is no longer true.

Ibrahim tells his story without a grain of complaint, and this was true for all of the band members. This is very much part of the Cuban spirit and soul.

Any movie that has that spirit and says things can be changed is worth making.

Any film that supports the idea that things can be changed is a great film in my eyes.

Everything is entertainment; criticism is now entertainment and it seems that the French directors have woken up one day and suddenly realised that they were not backed up any more.

The more opinions you have, the less you see.

Filmmakers and critics wrote about each other and sometimes very harshly. This no longer exists.

Many of the critics today get airline tickets, hotel accommodation, bags, beautiful photographs, gifts and other expenses paid by the distributors, and then are supposed to write serious articles about the movie.

The culture of independent film criticism has totally gone down the drain and this seems to come with the territory of the consumer age that we are now living in.

Many French directors, having now realised there was no more real criticism, that the standards of the past have gone, are very offended about the quality of film criticism.

What is generally referred to as American-style films are, in fact, studio productions.

I'm getting a little bored by the juxtaposition of American and other cinema. I no longer think this division is as true as it might have been in the 1980s, or the early part of the 90s.

For us music is mainly part of the entertainment world and is often a luxury.

I've never been anywhere in my life like it and I only really noticed it when I returned to Los Angeles and then Berlin. Everybody is much better off in these places, there is not poverty like in Cuba, but everybody complains about things.

Take opera for example - to go to the opera you have to dress up in a tuxedo and pay lots of money.

Butte was once a grand city. To me, that city is like one big stage for Edward Hopper. You could put your camera anywhere, and you felt you were looking at his paintings.

Film is a very, very powerful medium. It can either confirm the idea that things are wonderful the way they are, or it can reinforce the conception that things can be changed.

It's very hard to find critics or a magazine today that will publish material that is genuinely independent and written without any concern about being cut off some distributor's list or not be invited or flown into screenings.

Maybe it's the music that enables them to function like that, to always take everything as it comes and never complain about the misery, hardship or injustice.

Cinema is a worldwide phenomenon.

In fact, it is amazing how much European films - Italian, French, German and English - have recovered a certain territory of the audience in their countries over the last few years.

Entertainment today constantly emphasises the message that things are wonderful the way they are. But there is another kind of cinema, which says that change is possible and necessary and it's up to you.

For years all I seemed to be doing was lobbying politicians and others to persuade them that European culture needed movies, and that we had to protect it.

Movies are something people see all over the world because there is a certain need for it.

Without dreams there can be no courage. And without courage there can be no action.

We're gonna try and bring on all the different aspects of horror movie making and bring on guests and show all these old '50's B movies. Not the real corny ones, the real cool ones.

The thing is there have been American movies that are similar to Solaris, like Alien had a lot of things that are similar, although it's also got the horror element.

My mom took me to see Carnal Knowledge and The Wild Bunch and all these kind of movies when I was a kid.

Awards were made in Hollywood, in whatever the time it was created. They're to promote each other's movies. You give me an award, I give you an award and people will believe that we are great movies and they'll go to see them. It's still the same.

In a theater, the part is mine and I can control it as I want to. In the movies, I don't have direct contact, and I am fighting technical machinery.

I couldn't be happier about being a part of 'Hunger Games' and to play Katniss. I have a huge responsibility to the fans of this incredible book and I don't take it lightly. I will give everything I have to these movies and to this role to make it worthy of Suzanne Collins' masterpiece.

I enjoy about 1 out of 100 movies, it's about the same proportion to books published that I care to read.

Sure, 'Twilight' is really huge right now and everybody's freaking out over it, but it will go away soon and I will be back to doing what I'm used to doing: weird little movies that nobody sees.

There are many kinds of movies in Hong Kong. Some are commercial and others are more artistic.

Making movies is eating candy. It's a very expensive candy, so you value when you can do it. So when you can do it twice at once, it's like, you know, a kid in a candy store!

It just proves good movies don't need 100 million dollars to be good.

In the past I've made movies that were pretty universally liked. You can't really hate them. You can discard them, but you can't really hate them.

I grew up wanting to make movies, and along the way I suddenly found that I had a career doing comedy.

When I go to movies I generally want to be taken to another world.

There were not fifteen people in the story department and twenty-five producers and stuff. And Roger had produced 1,000 movies and directed a couple of hundred, and their comments were always very, very specific.

You can make movies for a select audience, but you have to market it to them.You can make movies for a select audience, but you have to market it to them.