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" "If a nation wants to develop toward the future, if it wants to be powerful and prosperous or influential, it simply has to have a vitality and burning passion toward life. No matter how much you suffer and no matter how tragic your fate, you need courage to live. This courage can't be worn away; otherwise, humanity would have no way of moving forward or developing toward the future. I think that several thousand years of humanity have also relied upon this kind of courage-an unceasing desire and vitality toward controlling one's own destiny. Every person hopes that his or her life will get better and better; this idea underlies everything. This is a critique of the modern mentality of Chinese people. Even though a country may be poor-its people poverty-stricken with all kinds of problems and much suffering-if people want to live, they should live to their hearts content, and they should have spiritual passion.
Zhang Yimou (born 14 November 1951) is a Chinese film director, producer, writer and actor, and former cinematographer. He has won numerous awards and recognitions, with three Academy Awards nominations for Best Foreign Language Film for Ju Dou in 1990, Raise the Red Lantern in 1991, and Hero in 2003. One of Zhang's recurrent themes is the resilience of Chinese people in the face of hardship and adversity, a theme which has been explored in such films as To Live (1994) and Not One Less (1999). His films are particularly noted for their rich use of colour, as can be seen in some of his early films, like Raise the Red Lantern, and in his wuxia films like Hero and House of Flying Daggers. His highest budgeted film to date is the 2016 monster film The Great Wall, set in Imperial China and starring Matt Damon.
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Using “realistic style” does not mean that we have to change and make a documentary film. It remains fiction. When I make movies, it is subjective, my own interpretation of the novel, my way of organizing the movie scenes. The director’s reflection is not objective, because we are expressing our own point of view, and from the angle of what interests us.
I think being popular is a tool instead of a purpose. One has to use a tool to express what he wants to express. Movies from the West, sometimes, are using this as a purpose, for a high market value. Their movies are made to be trendy, so that they could attract a great number of people. And in turn, they will make money that way. This is a universal feature in the industry. But for me I do not feel that it is enough if you just want to make something so that it will be popular. I have to express what I want to say. I probably would refuse to make such a film. To cast a movie, I have to find myself, to express what I want to say. Being popular, for me, is a process to make more and more people accept your ideas. For the movies I make, I try my best to make them popular, to make the audience accept it naturally. This is important. But I do not mean the other extreme, to only express what you want to say and neglect the public. This could end up as something just cherished by the artist. I think we are part of the mass, not higher than other people. I do not think possessing the quality of being popular is something lose face over. It is a style. It would work for the movies if and only if I am able to express what I want to say, and use popularity as a tool.
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Each person has his or her own point of view. However, if a jury likes a movie, this does not always mean that it is a good movie. It only reflects the view of the jury members. On the other hand, China is a developing country. The juries probably are curious about something they have never seen, something authentic, something that is hard to find in their society. The different living condition of each country defines how we see them and how they see us.