Only those who day by day are in the midst of motion pictures can really appreciate the wonderful opportunities for extraordinary things which the camera permits, and although we are still more or less in the beginning of things (I do not like to think we have really touched the great springs of the art as yet) we are struggling, working, studying all the time to better the production.

Artists are sometimes the ones who can tell us what may be coming in the future.

We believe it's the biggest advance in animation since Walt Disney started it all with the release of Snow White 50 years ago.

it is always in the future that the course of art lies

I believe very short films represent the future of cinema. Digital platforms have propelled this genre forward, matching the fast-paced nature of today’s world. While they won’t replace feature-length films, they offer a refreshing addition that brings diversity and a new dimension to the industry.

I remember that, as a kid. I never really understood how movies were made, until that movie, because it was such a technical accomplishment. Since then, you’ve seen more and more and more, for all different kids of films, about what goes into the process. If people enjoy the film, it can be really intriguing to see what created that film, how each one of those unique components came together, who the people are who did it and what it meant to them to do it. That’s a great thing to put out there, especially if it is a film that has different technological aspects that are unique. There’s not a lot of that that’s been done before, so I think it’s good for people to see.

I eagerly await new concepts and processes. I believe that the electronic image will be the next major advance. Such systems will have their own inherent and inescapable structural characteristics, and the artist and functional practitioner will again strive to comprehend and control them.

[Mamoulian] "[T]he majority of the films in the future will be done in color. Perhaps not immediately. Perhaps it will take three years or five years. But there must be progress and development in the cinema. Color will enrich it. It is part of that progress.

The art of the future will give form to our scientific convictions; this is our religion and our truth, and it is profound and weighty enough to produce the greatest style and the greatest revaluation of form that the world has ever seen. Today, instead of using the laws of nature as a means of artistic expression, we pose the religious problems of a new content. The art of our time will surely have profound analogies with the art of primitive periods long past, without of course, the formalistic similarities now senselessly sought by many archaist artists [Marc rejects abstraction of Cubism, among others]. And our time will just as surely be followed in some distant, ripe, late European future by another period of cool maturity, which in its turn will again set up its own formal laws and traditions. [written at the front of World War 1. - near Verdun, 1915]

The best way to predict the future is to create it yourself.

The future is not written. It unfolds as a result of our actions, the choices we makes, and the risks we take.

Motion pictures are the most important contribution to literature and art since the invention of fiction.

Isn't it amazing the way the future succeeds in creating an appropriate past?

The future can't be predicted, but it can be envisioned and brought lovingly into being. Systems can't be controlled, but they can be designed and redesigned. We can't surge forward with certainty into a world of no surprises, but we can expect surprises and learn from them and even profit from them.

You can tell when a Hollywood historical film was made by looking at the eye makeup of their leading ladies, and you can tell the date of an old science fiction novel by every word on the page. Nothing dates harder and faster and more strangely than the future.