Experimental Film Quotes

The 'Station to Station' film is a fast-moving journey through the modern creative landscape. It's a kaleidoscope of voices and impressions rather than a standard linear film.

Nadunisi Naaigal' is new age Tamil cinema. I have tried to break the rules of regular cinema with this film.

Actually I don't watch a lot of films but when I do, I like experimental, avant garde, European and world cinema. That is the language of cinema I am drawn towards. I don't watch much Hollywood or Bollywood.

I don't think American independent films have ever really been particularly experimental, except for the original guys from the '60s who were huge influences, like Stan Brakhage, Robert Breer, and Stan van der Beek. They were the true independents.

I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.

It's hard to get a film, you know, you need a very special film to be able to get that experimental. But, I would love to see that happen. I would love the opportunity to be more experimental than I am.

When I discovered European filmmakers, it affected me so deeply. It redefined what cinema could be. I mean, 'Blow-Up' ends with a dead body and mimes playing tennis. What?

When we produced 'Highway,' Imtiaz Ali and I planned it as a quick small experimental film, while we waited for Ranbir Kapoor's dates later during the year.

I'm a New Wave baby, so I got very stimulated by foreign film.

'Eagle vs Shark' was about keeping myself sane. I wanted to go back to my comedy roots with people I trusted and had worked with before and do something low-budget and more experimental.

I am going to produce a movie of my own. I am not going to stick to the time-tested formulae of Hindi cinema. I want to make a film for the present generation. So there will be a lot of new faces in the film.

Always, European art cinema has been the most threatening and the grimmest and the most transgressive, I think.

You don't do an experimental film to become rich, so the people who are involved are involved because they enjoy the creative aspect of it.

I went to film school, and I came in when video art was king, weird stuff was king, and there, you don't have a script as your bible.

I did this movie about Salvador Dali a few years ago and had hair extensions and a little bob. That was incredibly bizarre.

Like everybody, I wanted to meet Andy Warhol. I was impressed by his work and how daring he was. I think he changed the cinema completely, simply by opening his camera and letting it go.

Roman Candles was shown in a church, and so was Eat Your Makeup, so was Mondo Trasho, and so was Multiple Maniacs (1970). It's hard to imagine that churches showed these movies but a few in the '60s, like St. Mark's Church, or on the Bowery, they always were left-wing.

You go to certain movies where everything will be right and you will be invested in the story, but a movie like 'The Room' affects you instantly, and you are left with asking questions. You're almost like a part of the movie, as its not doing what it's supposed to do, and you become one with the film, and you say what you want.

I'm not an especially highbrow person, but I have always loved small, quirky, edgy movies.

I like the absurd and the surreal: the Coen brothers, Bunuel, Kubrick.

Very few people actually saw Andy's films like Chelsea Girls where he filmed seven hours, ran it on two screens, where each scene was in a different room at the Chelsea Hotel with these people he called 'Superstars" who were basically super-exhibitionists - the guy in one room high on LSD talking about masturbation, Brigid Berlin in another room playing a lesbian and shooting up people with amphetamines right through their jeans, it was all real and they were really doing it (though Brigid is now a proper lady), but you know Andy really did pre-date reality TV.

I actually went to film school and was making experimental films for a short time, so it wasn't such a leap.

I think it [Trouble In Mind] was the only time Divine didn't appear in drag, or certainly one of the few times, anyway. Alan created a time and place that was no time and no place, so it was not identifiable with any particular period or any particular city or any particular country, for that matter. I mean, everybody spoke English, but that was about it. So you couldn't pigeonhole that film.

It's very difficult to understand, but I'm looking for a nonnarrative, multiscreen, present-tense cinema. Narrative is an artifact created by us. It does not exist at all in nature; it is a construct made by us, and I wonder whether we need the narrative anymore.

As soon as I went to painting school in New York, I took an experimental film course, and everything clicked and came together. I realized my love of music and drama and the visual arts all came together. This happened in 1989. Since then, it's been a long road of educating myself in every possible way.