Quotes of All Topics . Occasions . Authors
You have to live spherically - in many directions. Never lose your childish enthusiasm - and things will come your way.
I even see the cinema itself as a woman, with its alternation of light and darkness, of appearing and disappearing images
We can all pretend to be cynical and scheming, but when we’re faced with purity and innocence, the cynical mask drops off.
Freedom, especially a woman's freedom, is a conquest to be made, not a gift to be received. It isn't granted. It must be taken.
No critic writing about a film could say more than the film itself, although they do their best to make us think the oppposite.
I did not realise that I was so loved. It can't just be for the films. I must have done something else, but I can't remember what.
Hype is the awkward and desperate attempt to convince journalists that what you've made is worth the misery of having to review it.
Even the most miserable life is better than a sheltered existence in an organized society where everything is calculated and perfected.
Nothing is sadder than laughter; nothing more beautiful, more magnificent, more uplifting and enriching than the terror of deep despair.
Through the ages, from the beginning of time, I'm certain man has covered woman's face with masks. They are, however, his masks, not hers.
Reality! But what does this word mean? Each has his own reality. I draw upon my personal reality upon the dark side of myself, my unconscious.
Going to the cinema is like returning to the womb; you sit there, still and meditative in the darkness, waiting for life to appear on the screen.
I claim the right to contradict myself. I don't want to deprive myself of the right to talk nonsense, and I ask humbly to be allowed to be wrong sometimes.
I think television has betrayed the meaning of democratic speech, adding visual chaos to the confusion of voices. What role does silence have in all this noise?
Every time I start a picture ... I feel the same fear, the same self-doubts . . . and I have only one source on which I can draw, because it comes from within me.
We must get beyond passions, like a great work of art. In such miraculous harmony. We should learn to love each other so much to live outside of time... detached.
I am not the kind of director who sits in a chair smoking a cigar talking with a microphone to 10 assistants. I need to move. To touch. To put a painting on a wall. To arrange a set.
Our duty as storytellers is to bring people to the station. There each person will choose his or her own train...But we must at least take them to the station...to a point of departure.
When the most important times are occurring, we don't even recognize them or notice. We are just busy living our lives. Only looking back do we know what was a great moment in our lives.
To people of my generation, the picture show was really another dimension - sensual, whimsical. No uniforms or collective rites, but a place where little boys like me could laugh and feel free.
The beauty of life are women, no one loves them as much as me. I adore them all, the ugly, the beautiful, the cold, the sexy and especially those that are from cinema material, shadow and light.
My relationship with my body has changed. I used to consider it as a servant who should obey, function, give pleasure. In sickness, you realise that you are not the boss. It is the other way around.
Georgian film is a completely unique phenomenon, vivid, philosophically inspiring, very wise, childlike. There is everything that can make me cry and I ought to say that it (my crying) is not an easy thing.
You see me in my most virile moment when you see me doing what I do. When I am directing, a special energy comes upon me. ... It is only when I am doing my work that I feel truly alive. It is like having sex.
For people who live in the imagination, there is no lack of subjects. To seek for the exact moment at which inspiration comes is false. Imagination floods us with suggestions all the time, from all directions.
There is no such thing as a good paparazzo. A good paparazzo, that's a paparazzo who has had his camera broken. In fact, they are bandits, thieves of photography. (Statement after photographs were published showing Jackie Onassis sunbathing nude.)
The public has lost the habit of movie-going because the cinema no longer possesses the charm, the hypnotic charisma, the authority it once commanded. The image it once held for us all - that of a dream we dreamt with our eyes open - has disappeared.
Everyone knows that time is Death, that Death hides in clocks. Imposing another time powered by the Clock of the Imagination, however, can refuse his law. Here, freed of the Grim Reaper's scythe, we learn that pain is knowledge and all knowledge pain.
When I start a picture, I always have a script, but I change it every day. I put in what occurs to me that day out of my imagination. You start on a voyage; you know where you will end up but not what will occur along the way. You want to be surprised.
Real religion should be something that liberates men. But churches don't want free men who can think for themself and find their own divinity within. When a religion becomes organized it is no longer a religious experience but only superstition and estrangement.
If I'm a cruel satirist at least I'm not a hyprocrite: I never judge what other people do. Neither a politician nor a priest, I never censor what others do. Neither a philospher nor a psychiatrist, I never bother trying to analyze or resolve my fears and neuroses.
I'd like very much to make a confident picture. I would like to be as good as nature, which, with a shower, produces flowers and grass to cover the destruction. But we are surrounded by human fragmentation, by pessimism, and it is difficult to talk of other things.
What is an artist? A provincial who finds himself somewhere between a physical reality and a metaphysical one... It’s this in-between that I’m calling a province, this frontier country between the tangible world and the intangible one - which is really the realm of the artist.
Don't forget that costumes, like dreams, are symbolic communication. Dreams teach us that a language for everything exists - for every object, every color worn, every clothing detail. Hence, costumes provide an aesthetic objectification that helps to tell the character's story.
I don't believe in total freedom for the artist. Left on his own, free to do anything he likes, the artist ends up doing nothing at all. If there's one thing that's dangerous for an artist, it's precisely this question of total freedom, waiting for inspiration and the rest of it.
Talking about dreams is like talking about movies, since the cinema uses the language of dreams; years can pass in a second and you can hop from one place to another. It's a language made of image. And in the real cinema, every object and every light means something, as in a dream.
As I don't consider myself exceptional, but simply a storyteller, each of my stories is really a period of my life. Deep down I feel that criticism of my work-which is the most sincere and authentic vision of myself-is unsuitable and immodest, whether it is favorable or unfavorable.
Talking about dreams is like talking about movies, since the cinema uses the language of dreams; years can pass in a second, and you can hop from one place to another. It's a language made of image. And in the real cinema, every object and every light means something, as in a dream.
I don't believe in total freedom for the artist. Left on his own, free to do anything he likes, the artist ends up doing nothing at all. If there's one thing that's dangerous for an artist, it's precisely this question of total freedom, waiting for inspiration and all the rest of it.
What's important is the way we say it. Art is all about craftsmanship. Others can interpret craftsmanship as style if they wish. Style is what unites memory or recollection, ideology, sentiment, nostalgia, presentiment, to the way we express all that. It's not what we say but how we say it that matters.
I don’t like the idea of “understanding” a film. I don’t believe that rational understanding is an essential element in the reception of any work of art. Either a film has something to say to you or it hasn’t. If you are moved by it, you don’t need it explained to you. If not, no explanation can make you moved by it.
In 'Roma,' I wanted to get across the idea that underneath Rome today is ancient Rome. So close. I am always conscious of that, and it thrills me. Imagine being in a traffic jam at the Coliseum! Rome is the most wonderful movie set in the world... As was the case with many of my film ideas, it was inspired by a dream.
One of the greatest handicaps is to fear a mistake. You have stopped yourself. You have to move freely into the arena, not just to wait for the perfect situation, the perfect moment... If you have to make a mistake, it's better to make a mistake of action than one of inaction. If I had the opportunity again, I would take chances.
The young watch television twenty-four hours a day, they don't read and they rarely listen. This incessant bombardment of images has developed a hypertrophied eye condition that's turning them into a race of mutants. They should pass a law for a total reeducation of the young, making children visit the Galleria Borghese on a daily basis.
Like many people, I have no religion, and I am just sitting in a small boat drifting with the tide. I live in the doubts of my duty.... I think there is dignity in this, just to go on working.... Today we stand naked, defenseless, and more alone than at any time in history. We are waiting for something, perhaps another miracle, perhaps the Martians. Who knows?
The public has lost the habit of movie-going because the cinema no longer possesses the charm, the hypnotic charisma, the authority it once commanded. The image it once held for us all — that of a dream we dreamt with our eyes open — has disappeared. Is it still possible that one thousand people might group together in the dark and experience the dream that a single individual has directed?
I’m just a storyteller, and the cinema happens to be my medium. I like it because it recreates life in movement, enlarges it, enhances it, distills it. For me, it’s far closer to the miraculous creation of life than, say, a painting or music or even literature. It’s not just an art form; it’s actually a new form of life, with its own rhythms, cadences, perspectives and transparencies. It’s my way of telling a story.
Objects and their functions no longer had any significance. All I perceived was perception itself, the hell of forms and figures devoid of human emotion and detached from the reality of my unreal environment. I was an instrument in a virtual world that constantly renewed its own meaningless image in a living world that was itself perceived outside of nature. And since the appearance of things was no longer definitive but limitless, this paradisiacal awareness freed me from the reality external to myself. The fire and the rose, as it were, became one.