Danny Kaye Quotes

Earlier films were meant only for entertainment, but now filmmakers, who are products of these times, do not compromise on real stuff. That is why storytelling has become more convincing.

I've learned a great deal about a certain type of filmmaking. But I have ambitions toward another type of filmmaking that I haven't been allowed to engage in yet.

The movies I respond to are by guys like the Coen brothers and Edgar Wright, where it's hard to fit them into any one box.

I think films are bigger than structure.

I want to work with a wide range of genres because it gives each film a different cinematic energy.

Film is changing, and it can't help but keep changing.

The fact is that Hollywood, from as early as the sixties to the present time, has ghettoized cinema into the big industry, a marketing industry. In doing this, the audiences have lost touch with the aspects of film which were to be informative and educational and even spiritual.

I think indie films are really important, because they show the studios and the audiences when they see them, great stories. Really interesting, small stories.

I don't think most of our films should be realistic, but you want that as an artistic possibility. Then, the artist can take the realism of the world and push it in ways that we can connect with.

In the '90s, I kind of put aside all those things I loved in the '80s and I got really into watching foreign films and art films and stuff like that, and sort of soaking those up.

A film is not a vehicle to accuse, or to relay a specific message. If we reduce a film to this, we lose all hope for cinema to ignite a richer conversation.

When I was making 'Satya', many people said that nobody would like to watch such dirty people. But, when the film worked, the same people said it was so real that they could actually smell it!

Just make music; don't talk about politics.

I kind of think that artists throughout history, poets throughout history have been criticized for sharing what's on people's minds and I don't think it's any different now.

When you get into making movies, then the physical mundane reality of life must be presented. But in comics you can jack it up and work in shorthand.

Suddenly this camera, this thing, allowed me to move around the world in a certain kind of way, with a certain kind of purpose. (On receiving a camera for her twenty-first birthday)

When I was living in Mexico, I started reassessing my drawing style, and plunged into a period of doing exercises and research to develop a new way to draw. The result was a style that implies more than it shows, and so, ironically, feels more "true" to the scene I want to draw than a style that is more specific. It seems to me that the reader's imagination is able to fill in the gaps more effectively than I ever could. Plus it's a lot faster and more fun to do.

Early in my career, a critic said that I needed to "explain" the irony in my work, suggesting that I needed to add text next to the images to help people understand what I was trying to say. At first I was dismayed that I wasn't making work with a clear enough message. That's when I realized that that was the exact opposite of what I wanted to do - that I wasn't responsible for a misinterpretation of my work, that there should be some ambiguity to it. They either got it, or they didn't.

When I need to take a side, I write a newspaper article and I tell my government, "You should not do that, you should do this." They don't listen to me, but I've been doing this for sixty years now. But, when I write a novel, I am not in that business.

Either the camera will dance, or I will.

I wanted to describe the world at the same time, through image, express what I felt. It was the time of the great documentary filmmakers: Richard Leacock, Joris Ivens. Today, television has put an end to this type of filmmaking.

I like making mini-movies rather than just three-minute, place-the-champagne-here-for-sponsorship videos.

I don't say everything, but I paint everything.

I think, for some artists, the fear of taking on a political identity stems from not wanting to be pigeonholed as political actor or a political musician. It becomes this thing where somehow your art can no longer exist on its own and be multifaceted.

I am not interested in rules or conventions. Photography is not a sport.