Yasujirō Ozu Quotes
I consciously did away with fade-ins and replaced them with the cut. Henceforth, I never used such editing techniques again. In fact, neither dissolve, fade-in nor fade-out can be regarded as 'the grammar of film,' they are no more than characteristics of the camera.
Quotes to Explore
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To get a film in Cannes is a real honor. To have it play and not get booed is a real relief.
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The stage and working in front of a camera are two completely different mediums. Each requires different techniques.
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But the process of making a film is not glamorous. Certainly not my films.
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Film has to describe and show.
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With Altman, he does discuss everything with you, but then leaves you to it and gives you full rein and lets you improvise and create a character while the camera is rolling.
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If you're filming somebody doing something they really want to do, you're probably not very high on their list of problems to deal with. You see James Carville on the phone - he's like that whether you have a camera or not. He isn't doing it just for you, and that's hard to explain.
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Film has played such a big part in my life, in my impressions of the United States.
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I'm extremely particular how my look should be in a film.
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The film depends on the audience's belief in this relationship.
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Female characters in literature are full. They're messy: they've got runny noses and burp and belch. Unfortunately, in film, female characters don't often have that kind of richness.
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Being in a Woody Allen film. I cherish it.
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My name can raise money on a small-budget film.
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My first film is coming out, and it's in 3D, and it's 'The Hobbit,' so it's a bit weird.
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The world just does not fit conveniently into the format of a 35mm camera.
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The camera cannot lie, but it can be an accessory to untruth.
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I know actors come around and they always talk like that, but I don't do publicity if I don't like the film.
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My co-stars call me selfish. They say, 'You are only interested in yourself and what you are only interested is yourself and what you are doing in front of the camera.' I reply, 'I can't help it; it's what got me where I am.'
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The dynamic range of a digital camera is not that much greater than film, particularly if you push the ASA a little bit.
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A big budget studio film is slower, they've got so much to create around you. Everything is more complicated.
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Everything becomes agitated. Ideas quick-march into motion like battalions of a grand army to its legendary fighting ground, and the battle rages. Memories charge in, bright flags on high; the cavalry of metaphor deploys with a magnificent gallop; the artillery of logic rushes up with clattering wagons and cartridges; on imagination's orders, sharpshooters sight and fire; forms and shapes and characters rear up; the paper is spread with ink - for the nightly labor begins and ends with torrents of this black water, as a battle opens and concludes with black powder.
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I hate celebrating birthdays.
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I consciously did away with fade-ins and replaced them with the cut. Henceforth, I never used such editing techniques again. In fact, neither dissolve, fade-in nor fade-out can be regarded as 'the grammar of film,' they are no more than characteristics of the camera.
