“The cinema is about other things than storytelling. What you remember from a good film -- and let's only talk about good films -- is not the story, but a particular and hopefully unique experience that is about atmosphere, ambience, performance, style, an emotional attitude, gestures, singular events, a particular audio-visual experience that does not rely on the story.”

— Peter Greenaway

"105 Years of Illustrated Text" in the Zoetrope All-Story, Vol. 5 No. 1.
105 Years of Illustrated Text

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Peter Greenaway 266

British film director 1942

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“[The art of the novel] does not simply consist in the author's telling a story about the adventures of some other person. On the contrary, it happens because the storyteller's own experience of men and things, whether for good or ill—not only what he has passed through himself, but even events which he has only witnessed or been told of—has moved him to an emotion so passionate that he can no longer keep it shut up in his heart.”

Murasaki Shikibu book The Tale of Genji

Source: Tale of Genji, The Tale of Genji, trans. Arthur Waley, Ch. 25: The Glow-Worm

“I have a theory of my own about what this art of the novel is, and how it came into being. To begin with, it does not simply consist in the author's telling a story about the adventures of some other person. On the contrary, it happens because the storyteller's own experience of men and things, whether for good or ill—not only what he has passed through himself, but even events which he has only witnessed or been told of—has moved him to an emotion so passionate that he can no longer keep it shut up in his heart.”

Arthur Waley (1889–1966) British academic

Source: Translations, The Tale of Genji (1925–1933), Ch. 25: 'The Glow-Worm'

“Specificity is what makes good storytelling, and good storytelling is what makes money, and making money is then what encourages new producers to invest in different stories about Asians.”

Constance Wu (1982) American actress

As quoted in "Fresh Off the Boat Star: I Don't Need to Represent Every Asian Mom Ever" in Time Magazine (10 February 2015) https://time.com/3696111/fresh-off-the-boat-constance-wu/

“While I agree that the film is historical, and the logo also, apparently, because of the film it is a part of, I disagree that as creative individuals there need be quite so much analyzing and in such disturbingly personal criticism about me as an individual for my having shared my experiences about my design of this logo. It’s needless by others, makes no contribution to the information and, instead, detracts from the genuine story I’ve related about this bit of film history.”

Suzy Rice graphic designer

The “Star Wars” Logo Design http://suzyrice.com/the-star-wars-logo-design-page-one-of-two/ (October 28, 2011)

“There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.”

Peter Greenaway (1942) British film director

From the introduction to 8 1/2 Women
8 1/2 Women

“Because it is founded on the search for universal laws, it cannot deal with singularity, that is, with uniqueness. The universe is a unique event and a unique story, and so far we are the unique point of that story. But unique events and stories are the domain of poetry, not science.”

Václav Havel (1936–2011) playwright, essayist, poet, dissident and 1st President of the Czech Republic

The Need for Transcendence in the Postmodern World (1994)
Context: Until recently, it might have seemed that we were an unhappy bit of mildew on a heavenly body whirling in space among many that have no mildew on them at all. this was something that classical science could explain. Yet, the moment it begins to appear that we are deeply connected to the entire universe, science reaches the outer limits of its powers. Because it is founded on the search for universal laws, it cannot deal with singularity, that is, with uniqueness. The universe is a unique event and a unique story, and so far we are the unique point of that story. But unique events and stories are the domain of poetry, not science. With the formulation of the Anthropic Cosmological Principle, science has found itself on the border between formula and story, between science and myth. In that, however, science has paradoxically returned, in a roundabout way, to man, and offers him — in new clothing — his lost integrity. It does so by anchoring him once more in the cosmos.

“What I can offer you is no different than a shovel. You’ve got the gold mine, and all I’m offering you is the shovel. What does a shovel do? It allows you to dig for the gold. It allows you an access. There are very particular techniques that I am talking about, and from there, you can have an experience is beautiful, an experience that is soothing. That’s all.”

Prem Rawat (1957) controversial spiritual leader

Melbourne, Australia March 26, 1985
1980s

“When you think of the visual style, when you think of the visual language of a film there tends to be a natural separation of the visual style and the narrative elements, but with the great, whether it is Stanley Kubrick, Terrence Malick or Hitchcock what you're seeing is inseparable, a vital relationship between the images and the story he's telling.”

Christopher Nolan (1970) British–American film director, screenwriter, and producer

Chistopher Nolan and David Fincher featurette on Movieweb http://www.movieweb.com/movie/the-tree-of-life-2011/christopher-nolan-and-david-fincher-featurette

“On The Beach is a story about the end of the world, and Melbourne sure is the right place to film it.”

Ava Gardner (1922–1990) American actress

In 1959 during the filming of On the Beach.
This has become a standing joke about Melbourne, but it's almost certainly either apocryphal or a misquotation.
Misattributed

“My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.”

Saul Bass (1920–1996) American graphic designer and filmmaker

Haskins, Pamela (Autumn 1996). "Saul, Can You Make Me a Title? Interview with Saul Bass". Film Quarterly. pp. 12–13.

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