Carl Theodor Dreyer Quotes
Imagine that we are sitting in an ordinary room. Suddenly we are told that there is a corpse behind the door. In an instant the room we are sitting in is completely altered; everything in it has taken on another look; the light, the atmosphere have changed, though they are physically the same. This is because we have changed and the objects are as we conceive them. That is the effect I want to get in my film.
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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My works look to how images are produced, but specially based upon how the material reacts.
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How hard it is to make your thoughts look anything but imbecile fools when you paint them with ink on paper.
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Let's not just look at it as taking votes away from Gore. Our support comes from a lot of people.
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But the process of making a film is not glamorous. Certainly not my films.
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I do look forward to keeping in touch with the guys, because we'll always be connected in people's minds.
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Of course I want to look well and fit - and as an athlete, I want to look strong.
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It's a question of not copying the masters, to look for something, good or bad, for oneself. To enter this liberated state of mind, one cannot copy the others.
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Most things I get hired on, I get hired because I improvise something funny, or they just think I look weird.
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It's too bad I'm not a flirt. When I'm on the sets, I'm too busy working on my scenes to look at the ladies.
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It really bugs me the way people criticise how actors look. We're not models. Models exist.
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Look, all administrations, all governments lie, all officials lie and nothing they say is to be believed. That's a pretty good rule.
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The craft of painting has virtually disappeared. There is hardly anyone left who really possesses it. For evidence one has only to look at the painters of this century.
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I've always said if what I'm going to create doesn't look good on everybody, I'm not going to do it.
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I am the biggest geek and fan of film and TV, and I just go through phases.
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For myself I don't like the geisha look. It's like a mask.
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Wherever you look there are inspirations, books, literature, paintings, landscapes, everything. Just living is an inspiration.
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I don't want to look sloppy, because then I feel sloppy.
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I like Alexander McQueen's work a lot: he's always pushing boundaries, and he's rough around the edges.
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I worked with Lukas Haas a long time ago, when he was younger, and he was wonderful.
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Your career, interests and relationships are important, but they are only important insofar as they lead you toward a deeper understanding of yourself. Otherwise, they are irrelevant.
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I like the name Engelbert. It's unusual. But Humperdinck? Not so much.
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Imagine that we are sitting in an ordinary room. Suddenly we are told that there is a corpse behind the door. In an instant the room we are sitting in is completely altered; everything in it has taken on another look; the light, the atmosphere have changed, though they are physically the same. This is because we have changed and the objects are as we conceive them. That is the effect I want to get in my film.
