Jeremy Podeswa Quotes

Movies are visual, aural, they involve people, and life, and ideas and art, they are so elastic. They can hold anything, withstand everything, and make you feel anything. Other arts can do that, but movies are the only ones that can incorporate other media into cinema.

I have been drawing and creating visual works my entire life, as long as I can remember.

Movies become art after editing. Instead of just reproducing reality, they juxtapose images of it. That implies expression; that's art.

There is a definite argument to be made that videogames are becoming an art form put together by artists of different types.

If I've seen the movie, it means it's an influence on my own filmmaking. Every movie has a reflection in 'Night Watch.'

I really wanted to write the way Kubrick makes films - 'Strangelove,' '2001', 'Clockwork Orange', 'Barry Lyndon' - they're all so different.

I'm an artistic person and a creator. I'm not a scientific. I'm not an engineer.

I went to film school at UT Austin. I learned a lot, and that school's good for puking up all your bad movies early and quick. But ultimately, no one can teach you to be an artist.

Music is very influential to my writing, as are theater and film.

I've been drawing my whole life. My mom says my sister and I were drawing by age 1. Animation seems a real, natural extension of drawing as a way of telling a story visually.

My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water.

I've always believed that photography is a way to shape human perception.

Art was a way of life in my family. My grandfather, N.C. Wyeth, who died a year before I was born, had been a prominent painter. So was my father, Andrew. My two aunts and two of my uncles also earned a living as painters.

I used to paint pictures - what happened was, I used to draw and paint pictures. And some of my friends would be, like, 'Yo, you should put that on a T-shirt,' because that's where their brain would go.

I've always been a doodler.

Whether you're Godard or Almodovar or Scorsese, it's text, text, text. Everything begins with the text, and this is a source of great anguish to me. So please let cinema get on with doing what it does best, which is expressing ideas in visual terms.

I come from quite a creative family; everyone's just doing their own thing!

I think it's absurd to believe that movies should look like paintings and say something like serious books say something.

You know, the only way I've found to make these pictures is with animators. You can't seem to do it with accountants and bookkeepers.

I don't think I treat my film work as an extension of my photography. There are two different sets of rules there.

I've ended up as a filmmaker who really loves the movie part of movies. That time in my life was a big influence on the kind of movies that I ended up making. I always think I'm going to make a movie that's gritty and real, but then I make a movie that's like an opera. I fight it at first and then that's just the way it is.

The most natural thing for us is drawing. The characters [in Persepolis] are hand drawn. We're not technical people. We don't know how to type.

Most cinema is not about images but text. Why on earth have we based cinema on text? Why can't we break that umbilical cord? Why do we have to pollute cinema?

Photography is solitary and there are lags between seeing with your eyes and seeing through the lens, and then seeing the image on your computer... I often see things after the fact. So there’s a revelatory quality. And this definitely includes a sense of playfulness, because you’re not sure what the consequences are going to be.

You don't take a picture, you make a picture.