Mark Fisher Quotes

I love Brian De Palma.

I like black and white films. I don't exactly know why - probably because there is a stylization which is removed from actual life, unlike a color film.

Celluloid will be the next decade's black and white.

I'm a huge Wes Anderson fan. I literally love every single film. He hasn't made a bad film; I've seen every single one. They've all been brilliant, from 'Bottle Rocket' up to 'Moonrise Kingdom,' they've all been wonderful.

I really like my first movie a lot, 'Kicking and Screaming.' I think it's a - I'm very pleased and proud of that movie, but it wasn't the - it wasn't 'Citizen Kane' right out of the box, you know? It wasn't 'Sex, Lies and Videotape.'

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.

With the black and white films, one was concerned with tone.

It's near impossible to make a movie in black and white in the system.

I've tried doing so, for it was never my intention to paint only with gray. But in the course of my work I have eliminated one color after another, and what has remained is gray, gray, gray!

I did not move into developing or processing color. I stayed with black and white. I still think to this day that I prefer to work in black and white if it has to do with poetry or anything other than specific reality. I have worked in color when I thought it was the appropriate way to express the thought that I was working on.

Every film deserves its own unique look.

I love film noir, so Billy Wilder is like my favorite director of all time.

A lot of comedies in the 1980s and 1990s had all these colors and were so brightly lit. But John Landis had this dark style, like a Scorsese film.

Oh my God. Brian De Palma. I love him.

Visually, I'm always considering shots and composition quite a lot, and I love putting art into films, and I do a lot of the art.

I love Wes Anderson films, which are quirky and funny.

Each book requires a different look. Sometimes I get to take a personal direction that's appropriate for the story. I try to push things within a range. Some are rougher, some more expressionistic, some are slicker graphically and call for a prettier drawing style that I can do. Some have a more classical vibe, and some are in between.

One of my biggest Disney influences in terms of world-building on this record was a background painter named Eyvind Earle, who was working in the '50s. He would make hyper-modern shapes that were sharp retellings of pastoral themes.

Joe Wright is incredible and I'm a huge admirer of his work in general, but specifically his aesthetics and poeticism.

I use very little red. I use blue, yellow, a little green, but especially... black, white and grey. There is a certain need in me for communication with human beings. Black and white is writing.

Nobody has shot a strip club in black and white in a long time.

Art is why I get up in the morning, but my definition ends there.

I think if the extremists were happy with my films, I'd start to worry.

It was an honor to work with Samantha Morton on this Casablanca-esque, silent-film-esque, Americana photobooth Woolworth's hay day period piece of surrealism/ realism/ story time tell-tale-ism, black and white 35 mm film, washed in strange light, over this love hate tune, heartbreak song, life-goes-on lullaby, The Last Goodbye. It's a doorway into the future of the fatal past-tense. Get it?

. . . you [film critics] always overstress the value of images. You judge films in the first place by their visual impact instead of looking for content. This is a great disservice to the cinema. It is like judging a novel only by the quality of its prose. I was guilty of the same sin when I first started writing for the cinema. . . . Now I feel that only the literary mind can help the movies out of that cul de sac into which they have been driven by mere technicians and artificers.