Source: The Islamic Declaration (1970), p. 42.
“Romantic films are in, which means we are out of jobs!”
Quotable quotes by Amitabh Bachchan.
I’m a diehard romantic - Shraddha Kapoor via Filmfare (April 30, 2013) http://www.filmfare.com/interviews/im-a-diehard-romantic-shraddha-kapoor-3014.html
Interview: Tobin Bell Discusses His Career and His New Horror Film Dark House https://editorial.rottentomatoes.com/article/interview-tobin-bell-discusses-his-career-and-his-new-horror-film-dark-house/ (March 14, 2014)
and "Get Confident, Stupid!".
On the Simpsons, Troy McClure
Bobby Rockel (May 2, 1997) "Best Is Yet to Come, Says Actor Matt Dillon", The Daily Oklahoman, p. 7.
As quoted by David Milner, "Haruo Nakajima Interview" http://www.davmil.org/www.kaijuconversations.com/nakajima.htm, Kaiju Conversations (March 1995)
On getting her role as "Paikea" in Whale Rider, as quoted in the actor profiles http://www.whaleriderthemovie.com/html/castcrew_cast.html at the official Whale Rider site http://www.whaleriderthemovie.com/.
Betsy Pickle (June 1, 1997) "Redefining Himself, On and Off-Camera", The Knoxville News-Sentinel, p. T4.
Interview with Ekyse Knox http://www.westernclippings.com/interview/elyseknox_interview.shtml
“I wanted to produce film songs that go beyond language or culture.”
Original Score
“Non-literate societies cannot see films or photos without much training.”
Source: 1960s, The Gutenberg Galaxy (1962), p. 41
Review http://www.rogerebert.com/reviews/death-to-smoochy-2002 of Death to Smoochy (29 March 2002)
Reviews, Half-star reviews
“I want to see a film, they send the Israeli army reserves to escort me! What kind of life is this?”
Fallaci interview (1973)
It worked; I'm still here.
Discovery: Annabelle Wallis http://www.interviewmagazine.com/culture/discovery-annabelle-wallis/ (November 13, 2014)
Interview with Brian Tyler https://8dio.com/2012/12/05/interview-with-brian-tyler/ (December 5, 2012)
Lemony Snicket
The Vile Village (2001)
Press conference in New York, as quoted in CommingSoon (June 2007) http://www.comingsoon.net/news/movienews.php?id=21257
2007
“My stomach was very badly burned when we filmed the shot of a truck exploding underneath Varan.”
As quoted by David Milner, "Haruo Nakajima Interview" http://www.davmil.org/www.kaijuconversations.com/nakajima.htm, Kaiju Conversations (March 1995)
As quoted by David Milner, "Akira Ifukube Interview I" http://www.davmil.org/www.kaijuconversations.com/ifukub.htm, Kaiju Conversations (December 1992)
Review http://www.rogerebert.com/reviews/chaos-2005 of Chaos (11 August 2005)
Reviews, Zero star reviews
Powell's Books http://www.powells.com/authors/hawke.html (2002-08-06)
2000–2004
From interview with Rajeev Masand
“It's already getting more and more difficult to make an ambitious and original film.”
"Roman Polanski: An Exclusive Interview" by Taylor Montague http://web.archive.org/web/20041121095701/http://www.geocities.com/mishaca/interviews/polanski.html
Context: It's already getting more and more difficult to make an ambitious and original film. There are less and less independent producers or independent companies and an increasing number of corporations who are more interested in balance sheets than in artistic achievement. They want to make a killing each time they produce a film. They're only interested in the lowest common denominator because they're trying to reach the widest audience. And you got some kind of entropy. That's the danger; they look more alike, those films. The style is all melting and it all looks the same. Even young directors — for most of them, their only standard of achievement is how well their films do on the first weekend or whatever. It worries me. But then, from time to time, you have a film like The Usual Suspects or.... I'm trying to think of something American with some kind of originality... Pulp Fiction.
Review of The Tree of Life (2 June 2011) http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20110602/REVIEWS/110609998
Reviews, Four star reviews
Context: Terrence Malick's The Tree of Life is a film of vast ambition and deep humility, attempting no less than to encompass all of existence and view it through the prism of a few infinitesimal lives. The only other film I've seen with this boldness of vision is Kubrick's 2001: A Space Odyssey, and it lacked Malick's fierce evocation of human feeling. … I don't know when a film has connected more immediately with my own personal experience. In uncanny ways, the central events of The Tree of Life reflect a time and place I lived in, and the boys in it are me. If I set out to make an autobiographical film, and if I had Malick's gift, it would look so much like this. … There is a father who maintains discipline and a mother who exudes forgiveness, and long summer days of play and idleness and urgent unsaid questions about the meaning of things. … The film's portrait of everyday life, inspired by Malick's memories of his hometown of Waco, Texas, is bounded by two immensities, one of space and time, and the other of spirituality. The Tree of Life has awe-inspiring visuals suggesting the birth and expansion of the universe, the appearance of life on a microscopic level and the evolution of species. This process leads to the present moment, and to all of us. We were created in the Big Bang and over untold millions of years, molecules formed themselves into, well, you and me.
And what comes after? In whispered words near the beginning, "nature" and "grace" are heard. … The film's coda provides a vision of an afterlife, a desolate landscape on which quiet people solemnly recognize and greet one another, and all is understood in the fullness of time.
Review of Magnolia in Chicago Sun-Times (7 January 2000) http://www.rogerebert.com/reviews/magnolia-2000
Reviews, Four star reviews
Context: Magnolia is operatic in its ambition, a great, joyous leap into melodrama and coincidence, with ragged emotions, crimes and punishments, deathbed scenes, romantic dreams, generational turmoil and celestial intervention, all scored to insistent music. It is not a timid film. … The movie is an interlocking series of episodes that take place during one day in Los Angeles, sometimes even at the same moment. Its characters are linked by blood, coincidence and by the way their lives seem parallel. Themes emerge: the deaths of fathers, the resentments of children, the failure of early promise, the way all plans and ambitions can be undermined by sudden and astonishing events. … All of these threads converge, in one way or another, upon an event there is no way for the audience to anticipate. This event is not "cheating," as some critics have argued, because the prologue fully prepares the way for it, as do some subtle references to Exodus. It works like the hand of God, reminding us of the absurdity of daring to plan. And yet plan we must, because we are human, and because sometimes our plans work out.
Magnolia is the kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy. At three hours it is even operatic in length, as its themes unfold, its characters strive against the dying of the light, and the great wheel of chance rolls on toward them.
Review of Magnolia (1999), in review for Great Movies (27 November 2008) http://www.rogerebert.com/reviews/great-movie-magnolia-1999
Reviews, Four star reviews
Context: Magnolia is a film of sadness and loss, of lifelong bitterness, of children harmed and adults destroying themselves. As the narrator tells us near the end, "We may be through with the past, but the past is never through with us." In this wreckage of lifetimes, there are two figures, a policeman and a nurse, who do what they can to offer help, hope and love. … The central theme is cruelty to children, and its lasting effect. This is closely linked to a loathing or fear of behaving as we are told, or think, that we should. … As an act of filmmaking, it draws us in and doesn't let go. It begins deceptively, with a little documentary about amazing coincidences (including the scuba diver scooped by a fire-fighting plane and dumped on a forest fire) … coincidences and strange events do happen, and they are as real as everything else. If you could stand back far enough, in fact, everything would be revealed as a coincidence. What we call "coincidences" are limited to the ones we happen to notice. … In one beautiful sequence, Anderson cuts between most of the major characters all simultaneously singing https://www.youtube.com/watch?v=aNmKghTvj0E Aimee Mann's "It's Not Going to Stop." A directorial flourish? You know what? I think it's a coincidence. Unlike many other "hypertext movies" with interlinking plots, Magnolia seems to be using the device in a deeper, more philosophical way. Anderson sees these people joined at a level below any possible knowledge, down where fate and destiny lie. They have been joined by their actions and their choices.
And all leads to the remarkable, famous, sequence near the film's end when it rains frogs. Yes. Countless frogs, still alive, all over Los Angeles, falling from the sky. That this device has sometimes been joked about puzzles me. I find it a way to elevate the whole story into a larger realm of inexplicable but real behavior. We need something beyond the human to add another dimension. Frogs have rained from the sky eight times this century, but never mind the facts. Attend instead to Exodus 8:2, which is cited on a placard in the film: "And if thou refuse to let them go, behold, I will smite your whole territory with frogs." Let who go? In this case, I believe, it refers not to people, but to fears, shames, sins.
Magnolia is one of those rare films that works in two entirely different ways. In one sense, it tells absorbing stories, filled with detail, told with precision and not a little humor. On another sense, it is a parable. The message of the parable, as with all good parables, is expressed not in words but in emotions. After we have felt the pain of these people, and felt the love of the policeman and the nurse, we have been taught something intangible, but necessary to know.
Herzog on Herzog (2002)
Context: Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect.
Vulture interview (2014)
Context: I was on the set of Tree of Life. He was with me, and he asked me [if I] would play Eleanor Rigby in his film. And I said, “Yes, but it’s so much the male perspective,” [whispers] like the majority of films that are made. I said, “I’d like to know more about the woman. I’d like to know her perspective as well.” So he went and he wrote Her. And it was very collaborative because every day as he’d write, I’d be working, and I’d come back and he’d ask me questions about sisters or whatnot and how women talk with each other, and I found that to be really exciting. … he was the full writer. I was his bounce board. Not story things, because that’s the main part of the film, but just things like, you know, cutting the hair. You know, because girls, we all tell each other, “Don’t cut your hair when you’re pregnant, don’t cut your hair when you have a breakup or when a tragedy happens.” It’s something that we like to do when we’re in an emotional place for some reason. Right? But that’s something that a man may not know, that’s inherently female. And so it was my idea, I wanted Eleanor to cut her hair off, because then it connects to then her disappearing herself as well.
Revolution (2014)
Context: Diablo and I fashioned my beard together in my trailer, together, as cautiously as you’d sculpt a peace treaty between two nations that prefer war to peace. The reality was that my identity outside of filmmaking had become more important to me. I was doing hours of yoga and meditation each day, I was going through a divorce, and the result was a kind of hirsute intransigence. I looked like the cliché of a terrorist and I behaved like one. Except the beard wasn’t the symbol, it was the cause. I feel some guilt about my lack of enthusiasm for acting, like it’s a bit ungrateful. Like I’ve let my teenage self down. Mind you, he let himself down a fair bit, the dirty little pervert. The dreams of my adolescent self were entangled with silvery screens and limousines, and I still feel that I need to offer up superficial sacrifices to his misguided altar. The fact is, though, I find filmmaking a boring process and its ends dubious. This could, of course, be due to the quality of the stuff I’ve done so far, as opposed to an essential rejection of an art form. Maybe if I’d been “R. P. McMurphy” or “The Elephant Man” or “Brian,” I’d feel different. It just wasn’t what I thought it would be. It’s not just the entertainment industry that has seemed like a mirage on arrival. What about clubs and parties? When I’m there I think, “Is this it? Is this all there is? Is this what all the fuss is about?” This feeling of disillusionment perhaps climaxed around the time of my divorce and the making of this subsequent film.
Explaining her closing comment on the importance of the two words of ""inclusion rider"" https://www.youtube.com/watch?v=XGa0jC5KHNM, in her 90th Oscars backstage interview (4 March 2018) http://www.oscars.org/press/90th-oscars-backstage-interview-transcript-actress-leading-role<!-- video of interview available for download at the official Oscar site -->
Context: I just found out about this last week. There is — has always been available to all — everybody … that does a negotiation on a film, an ""inclusion rider"" which means that you can ask for and/or demand at least 50 percent diversity in not only the casting, but also the crew. And so, the fact that we — that I just learned that after 35 years of being in the film business … we're not going back. So the whole idea of women ""trending"" — no. No ""trending"". African Americans ""trending"" — no. No ""trending"". It changes now, and I think the inclusion rider will have something to do with that.
"Books of the Times" in The New York Times (6 July 1981)
Context: The magaicians of the 19th century, enthralled by the science of optics, photography and electricity, opened the door to motion pictures and thereby rendered themselves obsolete. Any amateur with a pair of scissors can cut and edit a strip of film in order to make a woman vanish, sever a head, burn a body down to the skeleton and reverse time. Talent went out of style.… People either didn't believe Houdini when he said that his tricks on film were real, or they didn't care. Illusion became big bigness, and the magicians were out of work.
First published in the "Movie Answer Man" column (25 July 2004) http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20040725/ANSWERMAN/407250305
Context: Many moviegoers and video viewers say they do not "like" black and white films. In my opinion, they are cutting themselves off from much of the mystery and beauty of the movies.
Black and white is an artistic choice, a medium that has strengths and traditions, especially in its use of light and shadow. Moviegoers of course have the right to dislike b&w, but it is not something they should be proud of. It reveals them, frankly, as cinematically illiterate.
I have been described as a snob on this issue. But snobs exclude; they do not include. To exclude b&w from your choices is an admission that you have a closed mind, a limited imagination, or are lacking in taste.
“Once again, he has silenced the doubters by simply delivering an extraordinary film.”
Review http://www.rogerebert.com/reviews/avatar-2009 of Avatar (11 December 2009)
Reviews, Four star reviews
Context: Watching Avatar, I felt sort of the same as when I saw Star Wars in 1977. That was another movie I walked into with uncertain expectations. James Cameron's film has been the subject of relentlessly dubious advance buzz, just as his Titanic was. Once again, he has silenced the doubters by simply delivering an extraordinary film. There is still at least one man in Hollywood who knows how to spend $250 million, or was it $300 million, wisely.
Michael and Georgina
The Cook, The Thief, His Wife, and Her Lover
Section 3 : Work Democracy versus Politics. The Natural Social Forces for the Mastery of the Emotional Plague
The Mass Psychology of Fascism (1933), Ch. 10 : Work Democracy
Context: Rulers and generals muster their troops. Magnates muster the sums of money which give them power. The fascist dictators muster the irrational human reactions which make it possible for them to attain and maintain their power over the masses. The scientists muster knowledge and means of research. But, thus far, no organization fighting for freedom has ever mustered the biological arsenal where the weapons are to be found for the establishment and the maintenance of human freedom. All precision of our social existence notwithstanding, there is as yet no definition of the word freedom which would be in keeping with natural science. No word is more misused and misunderstood.
To define freedom is the same as to define sexual health. But nobody will openly admit this. The advocacy of personal and social freedom is connected with anxiety and guilt feelings. As if to be free were a sin or at least not quite as it should be. Sex-economy makes this guilt feeling comprehensible: freedom without sexual self-determination is in itself a contradiction. But to be sexual means — according to the prevailing human structure — to be sinful or guilty. There are very few people who experience sexual love without guilt feeling. "Free love" has acquired a degrading meaning: it lost the meaning given it by the old fighters for freedom. In films and in books, to be genital and to be criminal are presented as the same thing.
“I like the Coen brothers. Their films are smart and disturbing.”
Terry Gilliam's flying circus (2006)
Context: I like the Coen brothers. Their films are smart and disturbing. I am very impressed by what George Clooney is doing now. He is very political. I like the fact that he did Oceans Eleven and Oceans Twelve, made all that money and then leveraged the money and his success into interesting projects. Johnny Depp has also set up a production company and is showing an interest in risky projects that will not be easy.
I am sorry that it is hard for the average person, and even for an above-average person, to see a film that is not a Hollywood production. You see those films only in the festivals. There are few people there. That is worrying. People don't think. My goal in work is to make them think. The media do the opposite.
Source: Sculpting in Time (1986), p. 133
Context: [About Mirror] I had the greatest difficulty in explaining to people that there is no hidden, coded meaning in the film, nothing beyond the desire to tell the truth. Often my assurances provoked incredulity and even disappointment. Some people evidently wanted more: they needed arcane symbols, secret meanings. They were not accustomed to the poetics of the cinema image. And I was disappointed in my turn. Such was the reaction of the opposition party in the audience; as for my own colleagues, they launched a bitter attack on me, accusing me of immodesty, of wanting to make a film about myself.
Stig Bjorkman interview <!-- pages 6-7 -->
Bergman on Bergman (1970)
Context: I know the first film I ever saw — it must have been some time in 1924, when I was six or so... was Black Beauty. About a stallion. I still recall a sequence with fire. It was burning, I remember that vividly. And I remember too how it excited me, and how afterwards we bought the book of Black Beauty and how I learned the chapter on the fire by heart — at that time I still hadn't learned to read.
Mr. Tompkins in Wonderland. (1939) First lines
Context: It was a bank holiday, and Mr Tompkins, the little clerk of a big city bank, slept late and had a leisurely breakfast. Trying to plan his day, he first thought about going to some afternoon movie and, opening the morning paper, turned to the entertainment page. But none of the films looked attractive to him. He detested all this Hollywood stuff, with infinite romances between popular stars.
If only there were at least one film with some real adventure, something unusual and maybe even fantastic about it. But there was none. Unexpectedly, his eye fell on a little notice in the corner of the page. The local university was announcing a series of lectures on the problems of modern physics, and this afternoon's lecture was to be about Einstein's Theory of Relativity. Well, that might be something!
Awake in the Dark: The Best of Roger Ebert (2006)
Context: Herzog by his example gave me a model for the film artist: fearless, driven by his subjects, indifferent to commercial considerations, trusting his audience to follow him anywhere. In the 38 years since I saw my first Herzog film, after an outpouring of some 50 features and documentaries, he has never created a single film that is compromised, shameful, made for pragmatic reasons or uninteresting. Even his failures are spectacular.
The Syntax of Sorcery (2012)
Context: Certain individual words do possess more pitch, more radiance, more shazam! than others, but it's the way words are juxtaposed with other words in a phrase or sentence that can create magic. Perhaps literally. The word "grammar," like its sister word "glamour," is actually derived from an old Scottish word that meant "sorcery." When we were made to diagram sentences in high school, we were unwittingly being instructed in syntax sorcery, in wizardry. We were all enrolled at Hogwarts. Who knew?
When a culture is being dumbed down as effectively as ours is, its narrative arts (literature, film, theatre) seem to vacillate between the brutal and the bland, sometimes in the same work. The pervasive brutality in current fiction – the death, disease, dysfunction, depression, dismemberment, drug addiction, dementia, and dreary little dramas of domestic discord – is an obvious example of how language in exploitative, cynical or simply neurotic hands can add to the weariness, the darkness in the world. Less apparent is that bland writing — timid, antiseptic, vanilla writing – is nearly as unhealthy as the brutal and dark. Instead of sipping, say, elixir, nectar, tequila, or champagne, the reader is invited to slurp lumpy milk or choke on the author's dust bunnies.
Academy of Achievement interview (2006)
Context: !-- One of the reasons I love to jump back and forth between mediums is that film does allow me to be more literal. I can go to the real place. I can go to the Coliseum, and I don't have to fake it. … What theater does best is to be abstract and not to do literal reality. … -->Theater is far superior to film in poetry, in abstract poetry. … A lot of what I do in theater is cinematic, and a lot of what I do in film is theatrical, but there are different rules to it. … each art form makes me more interested in the other art form because I try and bring in those techniques and those ideas and put them into a different way of using them.
“In films we see extremes, because it’s where you have turning points.”
As quoted in "Emotional Intelligence" by James Mottram, in The Sunday Herald (8 January 2006)
Context: I think the characters I play go through tunnels, like in Three Colours : Blue, for example, where she’s lost everything... In The English Patient, she loses her best friend; this patient is dying in front of her – there’s no hope, so she’s going to start from the bottom. In films we see extremes, because it’s where you have turning points. Before I thought there was a common denominator between my films — as if all my characters were sisters – but I’m not so sure now.
Cinema, p. 17
Catching the Big Fish (2006)
Context: I'm not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you've got time and sequences. You've got dialogue. You've got music. You've got sound effects. You have so many tools. And so you can express a feeling and a thought that can't be conveyed any other way. It's a magical medium.
For me, it's so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. It's not just words or music — it's a whole range of elements coming together and making something that didn't exist before. It's telling stories. It's devising a world, an experience, that people cannot have unless they see that film.
“This is a masterful and heartbreaking film, and it does honor to the memory of the victims.”
Review https://web.archive.org/web/20130707210114/http://www.rogerebert.com/reviews/united-93-2006 of United 93 (27 April 2006)
Reviews, Four star reviews
Context: It is not too soon for "United 93," because it is not a film that knows any time has passed since 9/11. The entire story, every detail, is told in the present tense. We know what they know when they know it, and nothing else. Nothing about Al Qaeda, nothing about Osama bin Laden, nothing about Afghanistan or Iraq, only events as they unfold. This is a masterful and heartbreaking film, and it does honor to the memory of the victims.
Interview 2
Context: Action films are definitely a lot of training and I do a lot of my own stunts, so I definitely am in there for the long haul for the training process. But I love it. Martial arts is something I’ve always loved doing. It’s the only form of exercise that I can deal with. Everything else is really boring and mind-numbing. So for me it’s just really fun. I love to sort of feel like a superhero in that sense, to be able to fly through the air and to be on wires. It just makes me feel like I’m in Magic Mountain or something. I love it.
Pirelli interview (2015)
Context: Star Wars Episode IV: A New Hope (1977) is probably the most influential film of my generation. … That movie was the personification of good and evil and the way it opened up the world to space adventure, the way westerns did to our parents' generations, it left an indelible imprint. So, in a way, everything that any of us does is somehow directly or indirectly affected by the experience of seeing those first three films.
“Hollywood, television and film is not my prime area of interest.”
De Abaitua interview (1998)
Context: Hollywood, television and film is not my prime area of interest. Because I would never have any control, working in those areas. It’s nice to get the money from a Hollywood project, but whatever they do with it, it would be their piece of work, and not mine.
Source: The Life of Poetry (1949), p. 150
Context: The continuity of film, in which the writer deals with a track of images moving at a given rate of speed, and a separate sound-track which is joined arbitrarily to the image-track, is closer to the continuity of poetry than anything else in art. But the heaviness of the collective work on a commercial film, the repressive codes and sanctions, unspoken and spoken, the company-town feeling raised to its highest, richest, most obsessive-compulsive level in Hollywood, puts the process at the end of any creative spectrum farthest from the making of a poem.
At the same time, almost anything that can be said to make the difficulties of poetry dissolve for the reader, or even to make the reader want to deal with those "difficulties," can be said in terms of film. These images are like the action sequences of a well-made movie — a good thriller will use the excitement of timing, of action let in from several approaches, of crisis prepared for emotionally and intellectually, so that you can look back and recognize the way of its arrival; or, better, feel it coming until the moment of proof arrives, meeting your memory and your recognition.
The cutting of films is a parable in the motion of any art that lives in time, as well as a parable in the ethics of communication.
“Don't make a film if it can't be the film you want to make.”
On making films, from David Lynch: Dune Interview http://www.youtube.com/watch?v=6lZKcW9OGoU&feature=channel&list=UL.
Context: Don't make a film if it can't be the film you want to make. It's a joke, and a sick joke, and it'll kill you.
"Rachel McAdams and Eric Bana Interview - The Time Traveller's Wife by Steve Weintraub at Collider (13 August 2009) http://www.collider.com/2009/08/13/rachel-mcadams-and-eric-bana-interview-the-time-travelers-wife/
Context: I’m still employed and that’s a good thing. I’ve gotten to do a wide variety of things and different roles. I’ve met different kinds of challenges on each and every film and I never get bored. So that’s been success to me, that I’ve been able to stay afloat and also get to do things that are fun. I don’t know where that puts me in the grand scheme of things but I’ve really enjoyed the journey and the course it’s taken so far.
"About the screenplay for Strangers on a Train" (notes, 1950), first published in Raymond Chandler Speaking (1962), section "Chandler on the Film World and Television", p. 134
Context: When you read a story, you accept its implausibilities and extravagances, because they are no more fantastic than the conventions of the medium itself. But when you look at real people, moving against a real background, and hear them speaking real words, your imagination is anaesthetized. You accept what you see and hear, but you do not complement it from the resources of your own imagination. The motion picture is like a picture of a lady in a half-piece bathing suit. If she wore a few more clothes, you might be intrigued. If she wore no clothes at all, you might be shocked. But the way it is, you are occupied with noticing that her knees are too bony and that her toenails are too large. The modern film tries too hard to be real. Its techniques of illusion are so perfect that it requires no contribution from the audience but a mouthful of popcorn.
Darkness, p. 91
Catching the Big Fish (2006)
Context: People have asked me why — if meditation is so great and gives you so much bliss — are my films so dark, and there's so much violence?
There are many, many dark things flowing around in this world right now, and most films reflect the world in which we live. They're stories. Stories are always going to have conflict. They're going to have highs and lows, and good and bad.
I fall in love with certain ideas. And I am where I am. Now, if I told you I was enlightened, and this is enlightened filmmaking, that would be another story. But I'm just a guy from Missoula, Montana, doing my thing, going down the road like everybody else.
We all reflect the world we live in. Even if you make a period film, it will reflect your times. You can see the way period films differ, depending on when they were made. It's a sensibility — how they talk, certain themes — and those things change as the world changes.
And so, even though I'm from Missoula, Montana, which is not the surrealistic capital of the world, you could be anywhere and see a kind of strangeness in how the world is these days, or have a certain way of looking at things.
Review http://www.rogerebert.com/reviews/caligula-1980 of Caligula (22 September 1980)
Reviews, Zero star reviews
Context: Caligula is sickening, utterly worthless, shameful trash. If it is not the worst film I have ever seen, that makes it all the more shameful: People with talent allowed themselves to participate in this travesty. Disgusted and unspeakably depressed, I walked out of the film after two hours of its 170-minute length. That was on Saturday night, as a line of hundreds of people stretched down Lincoln Ave., waiting to pay $7.50 apiece to become eyewitnesses to shame..."This movie," said the lady in front of me at the drinking fountain, "is the worst piece of shit I have ever seen."
The Voluntary Movie Rating System (2004)
Context: I knew that the mix of new social currents, the irresistible force of creators determined to make "their" films and the possible intrusion of government into the movie arena demanded my immediate action.... My first move was to abolish the old and decaying Hays Production Code. I did that immediately. Then on November 1, 1968, we announced the birth of the new voluntary film rating system of the motion picture industry... the emergence of the voluntary rating system filled the vacuum provided by my dismantling of the Hays Production Code. The movie industry would no longer "approve or disapprove" the content of a film, but we would now see our primary task as giving advance cautionary warnings to parents so that parents could make the decision about the movie-going of their young children.
Torsten Manns interview <!-- p. 40 -->
Bergman on Bergman (1970)
Context: Now let's get this Devil business straight, once and for all. To begin at the beginning: the notion of God, one might say, has changed aspect over the years, until it has either become so vague that it has faded away altogether or else has turned into something entirely different. For me, hell has always been a most suggestive sort of place; but I've never regarded it as being located anywhere else than on earth. Hell is created by human beings — on earth!
What I believed in those days — and believed in for a long time — was the existence of a virulent evil, in no way dependent upon environmental or hereditary factors. Call it original sin or whatever you like — anyway an active evil, of which human beings, as opposed to animals, have a monopoly. Our very nature, qua human beings, is that inside us we always carry around destructive tendencies, conscious or unconscious, aimed both at ourselves and at the outside world.
As a materialization of this virulent, indestructible, and — to us — inexplicable and incomprehensble evil, I manufactured a personage possessing the diabolical traits of a mediaeval morality figure. In various contexts I'd made it into a sort of private game to have a diabolic figure hanging around. His evil was one of the springs in my watch-works. And that's all there is to the devil-figure in my early films... Unmotivated cruelty is something which never ceases to fascinate me; and I'd very much like to know the reason for it. Its source is obscure and I'd very much like to get at it.
Encountering Directors interview (1969)
Context: When a scene is being shot, it is very difficult to know what one wants it to say, and even if one does know, there is always a difference between what one has in mind and the result on film. I never think ahead of the shot I'm going to make the following day because if I did, I'd only produce a bad imitation of the original image in my mind. So what you see on the screen doesn't represent my exact meaning, but only my possibilities of expression, with all the limitations implied in that phrase. Perhaps the scene reveals my incapacity to do better; perhaps I felt subconsciously ironic toward it. But it is on film; the rest is up to you.
Review of Magnolia in Chicago Sun-Times (7 January 2000) http://www.rogerebert.com/reviews/magnolia-2000
Reviews, Four star reviews
Context: Magnolia is operatic in its ambition, a great, joyous leap into melodrama and coincidence, with ragged emotions, crimes and punishments, deathbed scenes, romantic dreams, generational turmoil and celestial intervention, all scored to insistent music. It is not a timid film. … The movie is an interlocking series of episodes that take place during one day in Los Angeles, sometimes even at the same moment. Its characters are linked by blood, coincidence and by the way their lives seem parallel. Themes emerge: the deaths of fathers, the resentments of children, the failure of early promise, the way all plans and ambitions can be undermined by sudden and astonishing events. … All of these threads converge, in one way or another, upon an event there is no way for the audience to anticipate. This event is not "cheating," as some critics have argued, because the prologue fully prepares the way for it, as do some subtle references to Exodus. It works like the hand of God, reminding us of the absurdity of daring to plan. And yet plan we must, because we are human, and because sometimes our plans work out.
Magnolia is the kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy. At three hours it is even operatic in length, as its themes unfold, its characters strive against the dying of the light, and the great wheel of chance rolls on toward them.
“I didn't stop dreaming until I finished the film. But the dream was the movie, not the Oscar.”
O interview (2003)
Context: I wanted to win it for one specific reason — to send the Oscar to the Frida Kahlo House in Mexico, where Frida herself once lived. It's going to bring a tear to my eye now. I wanted every Mexican who walked into that museum to remember that what motivated me to make this movie, to dream this dream, had everything to do with where I came from — and I didn't stop dreaming until I finished the film. But the dream was the movie, not the Oscar.
“Film theory has nothing to do with film.”
As quoted by David Weddle in " Lights, Camera, Action. Marxism, Semiotics, Narratology: Film School Isn't What It Used to Be, One Father Discovers http://articles.latimes.com/print/2003/jul/13/magazine/tm-filmschool28." Los Angeles Times (13 July 2003)
Context: Film theory has nothing to do with film. Students presumably hope to find out something about film, and all they will find out is an occult and arcane language designed only for the purpose of excluding those who have not mastered it and giving academic rewards to those who have. No one with any literacy, taste or intelligence would want to teach these courses, so the bona fide definition of people teaching them are people who are incapable of teaching anything else.
“I don't know when a film has connected more immediately with my own personal experience.”
Review of The Tree of Life (2 June 2011) http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20110602/REVIEWS/110609998
Reviews, Four star reviews
Context: Terrence Malick's The Tree of Life is a film of vast ambition and deep humility, attempting no less than to encompass all of existence and view it through the prism of a few infinitesimal lives. The only other film I've seen with this boldness of vision is Kubrick's 2001: A Space Odyssey, and it lacked Malick's fierce evocation of human feeling. … I don't know when a film has connected more immediately with my own personal experience. In uncanny ways, the central events of The Tree of Life reflect a time and place I lived in, and the boys in it are me. If I set out to make an autobiographical film, and if I had Malick's gift, it would look so much like this. … There is a father who maintains discipline and a mother who exudes forgiveness, and long summer days of play and idleness and urgent unsaid questions about the meaning of things. … The film's portrait of everyday life, inspired by Malick's memories of his hometown of Waco, Texas, is bounded by two immensities, one of space and time, and the other of spirituality. The Tree of Life has awe-inspiring visuals suggesting the birth and expansion of the universe, the appearance of life on a microscopic level and the evolution of species. This process leads to the present moment, and to all of us. We were created in the Big Bang and over untold millions of years, molecules formed themselves into, well, you and me.
And what comes after? In whispered words near the beginning, "nature" and "grace" are heard. … The film's coda provides a vision of an afterlife, a desolate landscape on which quiet people solemnly recognize and greet one another, and all is understood in the fullness of time.
“Martin Ransohoff had to sell Roman on the idea of even considering me for the film.”
On how she received the part of Sarah Shagal in Roman Polanski's The Fearless Vampire Killers, in Screen Stories magazine (1967)
Context: Martin Ransohoff had to sell Roman on the idea of even considering me for the film. He arranged for the two of us to have dinner. Roman never said a word to me, we just sat there and ate and he just looked at me. Then we had a second dinner meeting and the same thing happened. Later he took me to his apartment. He lit some candles and then excused himself and left me standing there alone. A short while later he came storming into the room like a madman and he was wearing a Frankenstein mask. I let out a blood-curdling scream and while I was still crying from the scare, he was calling Ransohoff to tell him that the part in the film was mine.
“We all reflect the world we live in. Even if you make a period film, it will reflect your times.”
Darkness, p. 91
Catching the Big Fish (2006)
Context: People have asked me why — if meditation is so great and gives you so much bliss — are my films so dark, and there's so much violence?
There are many, many dark things flowing around in this world right now, and most films reflect the world in which we live. They're stories. Stories are always going to have conflict. They're going to have highs and lows, and good and bad.
I fall in love with certain ideas. And I am where I am. Now, if I told you I was enlightened, and this is enlightened filmmaking, that would be another story. But I'm just a guy from Missoula, Montana, doing my thing, going down the road like everybody else.
We all reflect the world we live in. Even if you make a period film, it will reflect your times. You can see the way period films differ, depending on when they were made. It's a sensibility — how they talk, certain themes — and those things change as the world changes.
And so, even though I'm from Missoula, Montana, which is not the surrealistic capital of the world, you could be anywhere and see a kind of strangeness in how the world is these days, or have a certain way of looking at things.
“Old age isn't for sissies, and neither is this film.”
Review http://www.rogerebert.com/reviews/amour-2013 of Amour (9 January 2013)
Reviews, Four star reviews
Context: Old age isn't for sissies, and neither is this film. … This is now. We are filled with optimism and expectation. Why would we want to see such a film, however brilliantly it has been made? I think it's because a film like Amour has a lesson for us that only the cinema can teach: the cinema, with its heedless ability to leap across time and transcend lives and dramatize what it means to be a member of humankind's eternal audience.
it was also a movie, for me as an actor which was very fulfilling…
On her role in Dev.D in an Interview with NewsX (27 October 2009) http://www.youtube.com/watch?v=J_iAfpN4T84
“I don't like talking about the characters I do in film, ever.”
Vogue (1991) http://www.pfeiffertheface.com/Mag_1991-10_Vogue.htm
Context: I don't like talking about the characters I do in film, ever. There's no deep, dark meaning. It's just an idea. It's just an idea.
Review http://www.rogerebert.com/reviews/red-1994 of Three Colors: Red (2 December 1994)
Reviews, Four star reviews
Context: We are connected with some people and never meet others, but it could easily have happened otherwise. Looking back over a lifetime, we describe what happened as if it had a plan. To fully understand how accidental and random life is — how vast the odds are against any single event taking place — would be humbling. … This is the kind of film that makes you feel intensely alive while you're watching it, and sends you out into the streets afterwards eager to talk deeply and urgently, to the person you are with. Whoever that happens to be.
Review of The Tree of Life (2 June 2011) http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20110602/REVIEWS/110609998
Reviews, Four star reviews
Context: Terrence Malick's The Tree of Life is a film of vast ambition and deep humility, attempting no less than to encompass all of existence and view it through the prism of a few infinitesimal lives. The only other film I've seen with this boldness of vision is Kubrick's 2001: A Space Odyssey, and it lacked Malick's fierce evocation of human feeling. … I don't know when a film has connected more immediately with my own personal experience. In uncanny ways, the central events of The Tree of Life reflect a time and place I lived in, and the boys in it are me. If I set out to make an autobiographical film, and if I had Malick's gift, it would look so much like this. … There is a father who maintains discipline and a mother who exudes forgiveness, and long summer days of play and idleness and urgent unsaid questions about the meaning of things. … The film's portrait of everyday life, inspired by Malick's memories of his hometown of Waco, Texas, is bounded by two immensities, one of space and time, and the other of spirituality. The Tree of Life has awe-inspiring visuals suggesting the birth and expansion of the universe, the appearance of life on a microscopic level and the evolution of species. This process leads to the present moment, and to all of us. We were created in the Big Bang and over untold millions of years, molecules formed themselves into, well, you and me.
And what comes after? In whispered words near the beginning, "nature" and "grace" are heard. … The film's coda provides a vision of an afterlife, a desolate landscape on which quiet people solemnly recognize and greet one another, and all is understood in the fullness of time.
Review http://www.rogerebert.com/reviews/downfall-2005 of Downfall (11 March 2005)
Reviews, Four star reviews
Context: Admiration I did not feel. Sympathy I felt in the sense that I would feel it for a rabid dog, while accepting that it must be destroyed. I do not feel the film provides "a sufficient response to what Hitler actually did," because I feel no film can, and no response would be sufficient. All we can learn from a film like this is that millions of people can be led, and millions more killed, by madness leashed to racism and the barbaric instincts of tribalism.
Source: The Life of Poetry (1949), p. 150
Context: The continuity of film, in which the writer deals with a track of images moving at a given rate of speed, and a separate sound-track which is joined arbitrarily to the image-track, is closer to the continuity of poetry than anything else in art. But the heaviness of the collective work on a commercial film, the repressive codes and sanctions, unspoken and spoken, the company-town feeling raised to its highest, richest, most obsessive-compulsive level in Hollywood, puts the process at the end of any creative spectrum farthest from the making of a poem.
At the same time, almost anything that can be said to make the difficulties of poetry dissolve for the reader, or even to make the reader want to deal with those "difficulties," can be said in terms of film. These images are like the action sequences of a well-made movie — a good thriller will use the excitement of timing, of action let in from several approaches, of crisis prepared for emotionally and intellectually, so that you can look back and recognize the way of its arrival; or, better, feel it coming until the moment of proof arrives, meeting your memory and your recognition.
The cutting of films is a parable in the motion of any art that lives in time, as well as a parable in the ethics of communication.
Contact with Space (1957)
Context: On March 20, 1956, 10 P. M. a thought of a very remote possibility entered my mind, which I fear will never leave me again. Am I a spaceman? Do I belong to a new race on earth, bred by men from outer space in embraces with earth women? Are my children offspring of the first interplanetary race? Has the melting-pot of interplanetary society already been created on our own planet, as the melting-pot of all earth nations was established in the U. S. A. 190 years ago? … What inspired this thought? It was seeing the science-fiction film The Day the Earth Stood Still, about a spaceman who comes to Earth in a flying saucer to save us from self-destruction in a nuclear war. … All through the film I had a distinct impression that it was a bit of "my story" which was depicted there, even the actor's expressions and looks reminded me and others of myself as I had appeared 15 to 20 years ago.
Review https://web.archive.org/web/20130707210114/http://www.rogerebert.com/reviews/united-93-2006 of United 93 (27 April 2006)
Reviews, Four star reviews
Context: It is not too soon for "United 93," because it is not a film that knows any time has passed since 9/11. The entire story, every detail, is told in the present tense. We know what they know when they know it, and nothing else. Nothing about Al Qaeda, nothing about Osama bin Laden, nothing about Afghanistan or Iraq, only events as they unfold. This is a masterful and heartbreaking film, and it does honor to the memory of the victims.
Four Screenplays of Ingmar Bergman (1960).
Context: People ask what are my intentions with my films — my aims. It is a difficult and dangerous question, and I usually give an evasive answer: I try to tell the truth about the human condition, the truth as I see it. This answer seems to satisfy everyone, but it is not quite correct. I prefer to describe what I would like my aim to be. There is an old story of how the cathedral of Chartres was struck by lightning and burned to the ground. Then thousands of people came from all points of the compass, like a giant procession of ants, and together they began to rebuild the cathedral on its old site. They worked until the building was completed — master builders, artists, labourers, clowns, noblemen, priests, burghers. But they all remained anonymous, and no one knows to this day who built the cathedral of Chartres.
Regardless of my own beliefs and my own doubts, which are unimportant in this connection, it is my opinion that art lost its basic creative drive the moment it was separated from worship. It severed an umbilical cord and now lives its own sterile life, generating and degenerating itself. In former days the artist remained unknown and his work was to the glory of God. He lived and died without being more or less important than other artisans; 'eternal values,' 'immortality' and 'masterpiece' were terms not applicable in his case. The ability to create was a gift. In such a world flourished invulnerable assurance and natural humility. Today the individual has become the highest form and the greatest bane of artistic creation.
The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance. The artist considers his isolation, his subjectivity, his individualism almost holy. Thus we finally gather in one large pen, where we stand and bleat about our loneliness without listening to each other and without realizing that we are smothering each other to death. The individualists stare into each other's eyes and yet deny the existence of each other.
We walk in circles, so limited by our own anxieties that we can no longer distinguish between true and false, between the gangster's whim and the purest ideal. Thus if I am asked what I would like the general purpose of my films to be, I would reply that I want to be one of the artists in the cathedral on the great plain. I want to make a dragon's head, an angel, a devil — or perhaps a saint — out of stone. It does not matter which; it is the sense of satisfaction that counts.
Regardless of whether I believe or not, whether I am a Christian or not, I would play my part in the collective building of the cathedral.
The worst of us is not without innocence, although buried deeply it might be. In my work I try to reach and speak to that innocence, showing it the fun and joy of living; showing it that laughter is healthy; showing it that the human species, although happily ridiculous at times, is still reaching for the stars.
As quoted in A Walt Disney World Resort Outing : The Only Vacation Planning Guide Exclusively for Gay and Lesbian Travelers (2002) by Dann Hazel and Josh Fippen, p. 211
“Every practice, every film session, every game will help our chemistry.”
[Guha, Ramachandra, REFORMING THE HINDUS, http://ramachandraguha.in/archives/reforming-the-hindus.html, The Hindu, July 18th, 2004]
Articles
On A Kestrel for a Knave
Barry Hines Interview: Homecoming Hero
On her film If Beale Street Could Talk (for which she won Best Supporting Actress) in “Regina King on fighting white supremacists in Watchmen: 'My community is living this story'” https://www.theguardian.com/tv-and-radio/2019/oct/16/regina-king-beale-street-watchmen-superhero-hbo-dc-comics-oscar-actor in The Guardian (2019 Oct 16)
On her role in the film Dear White People in “Tessa Thompson interview: ‘Men should have the responsibility to deal with their toxicity’” https://www.independent.co.uk/arts-entertainment/films/features/tessa-thompson-interview-creed-ii-2-sexuality-men-bisexual-acting-michael-b-jordan-metoo-a8658881.html in Independent (2018 Nov 30)
On acting in various mediums in “Interview: Benjamin Bratt” https://www.cinemablend.com/new/Interview-Benjamin-Bratt-6673.html in Cinema Blend
On adapting a literary masterpiece for the big screen in “Interview: Benjamin Bratt” https://www.cinemablend.com/new/Interview-Benjamin-Bratt-6673.html in Cinema Blend
On how she felt that her early roles were a form of liberation in “Body of Work: Screen Siren Raquel Welch Gets Her Lincoln Center Retrospective” https://observer.com/2012/02/body-of-work-screen-siren-raquel-welch-gets-her-lincoln-center-retrospective/ in The Observer (2012 Feb 7)
On making the film 12 Years a Slave in “LUPITA NYONG’O” https://www.interviewmagazine.com/film/lupita-nyongo in Interview Magazine (2013 Nov 5)
On certain stories about Asian people being recycled in “HIJACKING THE NARRATIVE: A CONVERSATION WITH SALLY WEN MAO” https://theadroitjournal.org/2019/03/21/hijacking-the-narrative-a-conversation-with-sally-wen-mao/ in Adroit Journal (2019 Mar 21)
On television versus film work in “After ‘Looking’ and ‘We the Animals,’ Raul Castillo Is Ready to Be a Movie Star” https://www.indiewire.com/2019/01/raul-castillo-interview-we-the-animals-looking-1202029967/ in IndieWire (2019 Jan 2)
