Movies touch our hearts, and awaken our vision, and change the way we see things. They take us to other places. They open doors and minds. Movies are the memories of our lifetime. We need to keep them alive.

A good movie can take you out of your dull funk and the hopelessness that so often goes with slipping into a theatre; a good movie can make you feel alive again, in contact, not just lost in another city. Good movies make you care, make you believe in possibilities again. If somewhere in the Hollywood-entertainment world someone has managed to break through with something that speaks to you, then it isn’t all corruption. The movie doesn’t have to be great; it can be stupid and empty and you can still have the joy of a good performance, or the joy in just a good line. An actor’s scowl, a small subversive gesture, a dirty remark that someone tosses off with a mock-innocent face, and the world makes a little bit of sense. Sitting there alone or painfully alone because those with you do not react as you do, you know there must be others perhaps in this very theatre or in this city, surely in other theatres in other cities, now, in the past or future, who react as you do. And because movies are the most total and encompassing art form we have, these reactions can seem the most personal and, maybe the most important, imaginable. The romance of movies is not just in those stories and those people on the screen but in the adolescent dream of meeting others who feel as you do about what you’ve seen. You do meet them, of course, and you know each other at once because you talk less about good movies than about what you love in bad movies.

In actual life, of course, we live and have experiences, have certain emotions. But I think movies have shown depths of emotions and kinds of emotion that we might not normally come across in our own lives. So we are emotionally educated by seeing films. And some of our emotions might be much more heightened than they are in real life. I wonder sometimes and I worry that I might have become a person that is capable of a murder, for example, because of that deep emotion that we are able to feel through movies.

We go to the movies to enter a new, fascinating world, to inhabit vicariously another human being who at first seems so unlike us and yet at heart is like us, to live in a fictional reality that illuminates our daily reality.

People go to moving pictures to be made to weep or laugh, to be happy or unhappy as they watch what hap pens to the screen characters before them. They become completely absorbed in the screen action. They follow the story, willy-nilly. And in so doing, they are forced to feel the emotion/ aroused by the dramatic situations.Pictures makes millions of people, day after day, feel glad or sad, courageous or fearful, righteous or angry. He, can do this, that is to say, within limits, and these limits largely depend upon the story of the picture. If the producer has a powerful enough story, these millions for get themselves and their little joys and woes and escape into the scenes on the screen before them. Small wonder then, that, with such stupendous power over the thinking and feeling of myriads of men, women, and children, the moving picture producer is willing, even eager, to spend hundreds of thousands of dollars — or even a cool mil lion or so — to secure and produce a picture for this world of movie-goers. But the story selected must itself have power enough to arouse the emotions of an audience. Excellent photography and good acting can help to carry successfully any story, but they can never put emotional meaning into a story that is built without emotional appeal.

Movies can and do have tremendous influence in shaping young lives in the realm of entertainment towards the ideals and objectives of normal adulthood.

We go to the movies to enter a new, fascinating world, to inhabit vicariously another human being who at first seems so unlike us and yet at heart is like us,

This proves that what we act reflects the life that people are experiencing. There are even instances where you act something and people experience it after, and base on a character in the film to react appropriately. Films are significant in society because our stories encourage and advise people.

Of all the arts, movies are the most powerful aid to empathy, and good ones make us into better people.

When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination. The sequence of pictures plays directly on our feelings. Music works in the same fashion; I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence.

As I said, a work should be unique in idea. I think many Hollywood movies reflect a simple world outlook. Instead of putting emphasis on the breakthrough of the content, the symbolic aspect, they stress other entertainment elements to attract an audience, such as sensational approach and a high technological skill. They carry a high price tag, and sometimes are very well done, with love scenes and action. But in terms of artistic value, the symbolic meaning of the movies, some of them, not all, are kept plain. They may just draw lines of moral value, such as struggles between good and evil, something we are educated about once and for all in high school. I think movies should have more than just these, they should touch more varieties of the society, different aspects of life, and reflect people. They are more for development, more to explore. Of course this is only my personal view, each person may have their own view.

It was from a weekly visit to the cinema that you learned (or tried to learn) how to strut, to smoke, to kiss, to fight, to grieve. Movies gave you tips about how to be attractive (...). But whatever you took home from the movies was only part of the larger experience of losing yourself in faces, in lives that were not yours - which is the more inclusive form of desire embodied in the movie experience. The strongest experience was simply to surrender to, to be transported by, what was on the screen

When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination. The sequence of pictures plays directly on our feelings. Music works in the same fashion; I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence. Ever since childhood, music has been my great source of recreation and stimulation, and I often experience a film or play musically.

sense of identifying with the characters, although that is an important part of it, but by seeing the world as another person sees it. François Truffaut said that for a director it was an inspiring sight to walk to the front of a movie theater, turn around, and look back at the faces of the audience, turned up to the light from the screen. If the film is any good, those faces reflect an out-of-the-body experience: The audience for a brief time is somewhere else, sometime else, concerned with lives that are not its own. Of all the arts, movies are