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 had more trouble than I had a sense of utility or satisfaction. But it served to occupy me and to keep me occupied in a field that I love - which was cinema - while I was waiting to realize the film that I wanted to do, which was Once Upon a Time in America, which took ten years of thinking and working to realize.
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Because you are a great lord, you think you are a great genius! . . . Nobility, wealth ... You went to the trouble of being born—nothing more! For the rest—a very ordinary man!
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I love going to football games and going to homecoming dances and just doing normal things.
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But you have to trust your instincts. Because you're not going to try it 20 different ways during rehearsal. You'll try it two or three different ways, maybe, but then you've got five other scenes you're shooting that day. You've got to keep going.
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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.
