Remember, science fiction's always been the kind of first level alert to think about things to come. It's easier for an audience to take warnings from sci-fi without feeling that we're preaching to them. Every science fiction movie I have ever seen, any one that's worth its weight in celluloid, warns us about things that ultimately come true.
The cinema began with a passionate, physical relationship between celluloid and the artists and craftsmen and technicians who handled it, manipulated it, and came to know it the way a lover comes to know every inch of the body of the beloved. No matter where the cinema goes, we cannot afford to lose sight of its beginnings.
Celluloid will be the next decade's black and white.
Acting is fantastic, but to be able to create a whole world on celluloid is amazing. It's like taking your dreams straight from your head and projecting them onto a screen.
I want to be an artist, not... a celluloid aphrodisiac.
This award is meaningful because it comes from my fellow dealers in celluloid.
This is a career about images. It's celluloid; they last for ever. I'm a black woman from America. My people were slaves in America, and even though we're free on paper and in law, I'm not going to allow you to enslave me on film, in celluloid, for all to see.
I'm sad to see celluloid go, there's no doubt. But, you know, nitrate went, by the way, in 1971. If you ever saw a nitrate print of a silent film and then saw an acetate print, you'd see a big difference, but nobody remembers anymore. The acetate print is what we have. Maybe. Now it's digital.
I like celluloid, I like film, I like the way that when a movie is projected it sort of breathes a little in the gate. That's the magic of it to me.
I'd like to own a movie camera - a proper one, with film, not a digital thing. Celluloid has more character.