Stan Brakhage Quotes

In animation, there's this exhilarating moment of discovery when you see the film and you say, Oh THAT'S what I was doing.

In a way, 'Sin City's designed to be paced somewhere between an American comic book and Japanese manga. Working in black and white, I realized that the eye is less patient, and you have to make your point, and sometimes repeat it. Slowing things down is harder in black and white, because there isn't as much for the eye to enjoy.

Movies are all about plot. Theater, even if it's story heavy, it's about ideas. Theater has to resonate in your heart in a way that movies don't.

Television has some lovely aspects to it - and some ghastly aspects - but the theater itself was a wonderful invention.

Make something new, and define territory that's never been. I fall in love with shows because I've never see that before. I fall in love with new vocabularies.

For me, the world is a stage, and we are all playing the character we have chosen to play on that stage. It is the job of the photographer to capture the drama of the performance.

Painting is not for me either decorative amusement, or the plastic invention of felt reality; it must be every time: invention, discovery, revelation.

I think films are bigger than structure.

It doesn't matter if it's black-and-white. If a movie has a story that is filled with emotion, you can have as much pleasure, and it's very good for cinema.

It seems that our politicians see the world in black and white, so why not our artists? Did Woody Allen's 'Manhattan' have to be in black and white? No. But is it fantastic that it was? To see New York like that? Yes!

I support any procedure that allows photographers to express themselves, whether that involves color, black and white, platinum, palladium and digital technology.

Just telling a story. That's cinema. It's not silent, black and white. It's a simple story that's well made.

I've always thought photography was a bit of an adventure, so to come home with the film, develop it, then look at the results has more of a sense of excitement.

The perceived wisdom is that people do not go in large numbers to black-and-white movies anymore - which is a great shame, but I'd love to make a black-and-white movie one day.

You begin a film more with questions than with direct intentions. It's more of an exploration and discovery.

When you make a black-and-white movie with two people in it in 2016, you're taking a swing at something.

Every movie, I find myself adrift at the beginning of the movie, and then I find my way through the dark forest.

The idea of the museum is to show my work since the start, and I wanted to show all of it, not just to choose between different pieces. They are grouped together in themes - minimalism, androgyny, black and white, graphic, flowers, and so on - from the earliest designs to the most recent ones.

I always try to make popular films. Even in black-and-white and silent.

I attempt to create a form of seriocomic entertainment to either delight, enlighten, or disgust, whichever you'd like. In terms of making motion pictures, I write and direct and act. I guess you'd say I'm a filmmaker.

Barbara and I wanted to do a television special, and she put it together with T Bone Burnett, and they came up with the idea of it being black and white. It was fabulous; we had a great time. It was wonderful.

'Piku' was driven by subtleties. Most films come with the padding of the sound, the visual, the drama.

I'm very attracted to schematic structures. My brother is a chemical engineer, he has a very mathematical mind, and he's also a visual artist. I think we have a lot in common. And my first film had a very tight structure, narratively.

I'm just trying to give the best human expression that I can to any particular genre, which could be comedy, could be drama, could be horror, could be thriller.

There's a great deal of mystery in film editing, and that's because you're not supposed to see a lot of it. You're supposed to feel that a film has pace and rhythm and drama, but you're not necessarily supposed to be worried about how that was accomplished.