Noel Clarke Quotes

'Pierrot le Fou' is something I keep coming back to. It's so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.

The expected vertical line of Ikiru's narrative breaks when Kurosawa does a flash-forward in the middle of the film.

I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.

That's the great thing about the 'Sin City' movies. Each little slot is incredibly meaningful, and each character has their own moment.

'Apocalypse Now' does not alienate us or deconstruct itself. In fact, it welcomes us in.

It is the idea that it's a movie in a movie. So I did it.

If you think about it, episodic filmmaking has not been something that people have really done.

Meta-fiction doesn't depend on the illusion that you're reading about real people.

I always wanted to make a film that had this sort of Chinese-box effect, in which you keep opening it up and opening it up, and finally at the end you're at the beginning.

'21 Grams' is only one story told by three different points of view, but they are really physically connected - literally, with the heart.

Films like 'Babel' can transcend the one point-of-view formula that has reigned for so long.

Tarantino's movies are smartly intoxicating cocktails of rampage and meditation; they're in-your-face, with a mac-10 machine pistol and a quote from the Old Testament. They blend U.S. and European styles of filmmaking; they bring novelistic devices to the movie mall.

Ulrik Ottinger was the most real and experimental of all the German New Wave directors. She was probably the most out-there, too. She's a fascinating artist in that world.

Movies tend to be dislocated and non-linear in their process.

Wrestling has progressed to the point that the fourth wall has been broken. People would enjoy more seeing what is behind the superhero that they watch on TV.

When the protagonist breaks the fourth wall by looking at the camera in a movie, it's generally been used for comedic purposes, rather than feeling like they're looking into your soul.

It was fun playing with those jumps and the flashbacks in 'Zombieland,' but I don't think you need it to make a good movie. It's fun to just do a more straightforward one.

I really liked the Jean-Luc Godard movie, 'Film Socialisme.'

Even 'Piku' was quite an experiment in terms of storytelling because on the surface nothing happens in the film. If you ask me what was the film about, it was about father-daughter fighting and the narrative captured their daily life.

I've been making films with almost no dialogue (laughs), so sound and music become a very powerful character to tell the story. It's almost like with sound and music and images, it's your tool to tell the story, especially when I decide to structure the film in a way that usually goes against the conventions of the three-act structure which most films are made out of.

I do remember when I first read the script of the 92 In The Shade. I was in the house at Nicholas Beach, and that gang was starting to break up, and I read this terribly well-written dialogue, not figuring out that films are about structure and the thing was totally unstructured, and I thought, "Who is this writer? God, he's great."

The structural notions to me always have to be worked out very carefully in the script stage. Whatever a particular structure is. Whether it's chronological or non-chronological. To me that's always about what point of view are we trying to address in the film?

Film is a great tool to play with time, going back and forth through time, or speeding time up and slowing it down and do stuff like that. That's something you can't experience in real life that you can experience on film, and it takes you to a different place.

In thinking about 'depressing movies,' many people don't realize that all bad movies are depressing, and no good movies are.

It's amazing how everyone has their different ways of working. I like hearing about that process, reading about it. I have so much appreciation for movies because I understand how hard it is to make one. There is always something I gain from watching a movie, whether it's a silly romantic comedy or an art film.