Andrzej Wajda Quotes

People use location as a language in films, and Quentin uses action as a language in his films. There's really not a lot of violence. It's more of an emotional beat than it is a physical beat.

The great art of films does not consist of descriptive movement of face and body but in the movements of thought and soul transmitted in a kind of intense isolation.

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

I think from an early age I was aware of how a camera can tell a story, how a movie camera can affect how the narrative is told.

I mean, '8½' to me is such a great dissertation on the whole, you know, act of filmmaking and creativity.

I try not to look for messages in films.

Americans think cinema is about storytelling; I don't believe that. I think it's a language and everyone has to find their own way of speaking. It's not so much what you say as the way you say it.

Wes Anderson's mind must be an exciting place for a story idea to be born. It immediately becomes more than a series of events and is transformed into a world with its own rules, in which everything is driven by emotions and desires as convincing as they are magical.

Film is abstract, not definite. It is a dream.

It is also difficult to articulate the subtleties in cinema, because there aren't words or metaphors which describe many of the emotions you are attempting to evoke.

A fragmented film such as 'Babel' gives the impression of 'edginess' but, in its form, tells us nothing we didn't already know.

I can use movie as a language. Not only could it send a good message, I could let people know about my thinking and how I see the world, how I see the colour, how I see the music, how I see everything.

I fell in love with film and its potential. The idea of putting one image next to another image and creating meaning blew my mind.

Film as a medium, like a novel as a medium, possesses a unique ability to communicate. Film is capable of communicating in a way that no other medium can, and I would say the same for the novel.

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.

Film is anti-language.

Some scenes cry out for a certain kind of treatment. The kind we're conditioned by years of film-watching to expect.

Raman Raghav' was shot on location, but there are many stylistic things in it. I like this mixture of documentary and extreme stylization.

I find movies rely upon dialogue too much sometimes, and you lose the power of what really the most basic cinematic language is, which is the visual language.

I suppose I was interested in creating a vision; in the same way, I was very drawn to tension within cinema. Hitchcock was my other early obsession - 'Psycho' and its score. So there was the sense of trying to create an atmosphere: how a sound resonates and makes an effect.

I don't really believe in the mystery of cinematography - what happens in the camera is what the cinematographers create and all that nonsense - I want the director to see what I'm trying to do.

I don't want to do a history lesson. I don't think cinema should be about that. Cinema should be about emotions.

Storytelling is powerful; film particularly. We can know a lot of things intellectually, but humans really live on storytelling. Primarily with ourselves; we're all stories of our own narrative.

I guess the way I shoot things is slightly influenced by the way videogames are cut and shot.

I will continue to make films to express my thoughts that come from my observations, from the society we live in.