George C. Wolfe Quotes

I work intentionally to try and make dense, complex things. We can move between genres and forms, from something that looks like a PowerPoint lecture to something that looks like an informercial to something that looks like a cinematic melodrama.

Jeremy Scott reminds me of Harmony Korine, mixing all worlds and making them into one - you just never know what he's up to.

I started out doing music videos and photography, and I always loved writing. Filmmaking seemed to be a good compilation of all these skills in a way that allowed me to tell a story 'greater than the sum of its parts.'

Alex Poots has always made a bridge between highly experimental and the mainstream.

I try to combine in my paintings cinematic feeling, emotional feeling, and sometimes actually writing on the page to combine all the different elements of communication.

Why movie and dance critics are taking 'The Company' seriously, I can't imagine. Are they impressed by Altman's reputation and naive sincerity? By the fluid semi-documentary approach?

I want to change things with everything I do, not for the sake of changing things, but for the sake of taking greater and greater risks, or how minimalist I might be able to be, or how I can involve elements or ingredients in music videos that are not musical, for instance.

I realised that there's a more muscular approach to film-making that I found very inspiring.

For me, who loves to draw and who loves to write and cannot choose between one or the other, the comic is the best form.

Whereas with Sirk, everything is always filmed. No matter what the script, he's always a real director.

From the very beginning, I started doing music performances with a lot of theatrical aspects to them, where humor was a part of it but not necessarily had to be. Humor is just another tool to make the palette more rich and interesting for myself and eventually for the public. It's a great way to break out of convention.

We started combining the use of light and the use of theatrics and the use of as many art forms as possible, and it's still growing - that's the whole idea of it.

Genres aren't closed boxes. Stuff flows back and forth across the borders all the time.

I'd like to see the comics' style expanded. I'd like to see artists synthesize traditional comics arts style with fine-arts styles or whatever. I like to see innovation. I don't like it when an art form becomes stagnant.

'Sorry' just fit the bill for the crossover that both Lost Stories and I were attempting to do musically.

With a lot of these social realist films, the first thing you do is drain the color.

Every art form has its own beauty, but blending it with other forms in separate ways is okay.

My number-one hero in terms of interdisciplinary art is Laurie Anderson, but I've always admired anyone who can think way beyond any one medium.

I like to take a little of what I learned in fiction and apply it to documentary and vice versa.

Professional cinema image-taking should integrate, serve, interest, and enhance the story. I judge cinematography not just for a story well told but for what the story is.

I'm trying to bring a little bit of every type of sauce into one type of sound. Something that's really fresh.

Akira Kurosawa, David Lean and Alfred Hitchcock were the main inspirations for 'Samurai Jack,' along with a lot of '70s cinema.

I work in between the cracks, where the voice starts dancing, where the body starts singing, where theater becomes cinema.

I’ve always been uninterested in boundaries or quarantines between tastes and types, between mediums and genres.

Whether people are making narrative cinema or experimental cinematic movie experiences, they all want the biggest screen possible and the quietest room and the most attention to every nuance and detail. Obviously, most people will not see the movie that way, but I can still hope for it, and I'd like to think we will be able to pull it off this time.