It is not surprising that the motion picture relies to a considerable extent on devices borrowed from the theatre. There are many ...superficial points of resemblance between the two arts. Films are shown in auditoriums which do not differ in any marked degree from other playhouses. Stage actors perform in films. Stage training is still regarded as a fairly satisfactory prerequisite for appearance before the camera. Actors, directors, and writers move from stage to screen with comparative ease and with what seems to be minor adjustments of their techniques and methods. It is often customary to draw a stage curtain back and forth to mark the beginning and end of the drama projected on the screen within the proscenium arch.LESSATTRIBUTION DETAIL »
I can't earn my own living. I could never make anything turn into money. It's like making fires. A careful assortment of paper, sh...avings, faggots and kindling nicely tipped with pitch will never light for me. I have never been present when a cigarette butt, extinct, thrown into a damp and isolated spot, started a conflagration in the California woods.LESSATTRIBUTION DETAIL »
If I were just curious, it would be very hard to say to someone, "I want to come to your house and have you talk to me and tell me... the story of your life." I mean people are going to say, "You're crazy." Plus they're going to keep mighty guarded. But the camera is a kind of license. A lot of people, they want to be paid that much attention and that's a reasonable kind of attention to be paid.LESSATTRIBUTION DETAIL »
The virtue of the camera is not the power it has to transform the photographer into an artist, but the impulse it gives him to kee...p on looking.LESSATTRIBUTION DETAIL »
Analogies between the stage and the screen assume that they deal with the same material. But they don't. The material of the scree...n is not actual objects but images fixed on the film. And the very fact that they have their being on film endows these images with properties which are never found in actual objects. For instance, on the stage the actor moves in real space and time. He cannot even cross the room without performing a definite number of movements. On the screen an action may be shown only in terminal points with all its intervening moments left out. Similarly, in watching a performance on the stage the spectator is governed by the actual conditions of space and time. Not so in the case of the movie spectator. Thanks to the moving camera he is able to view the scene from all kinds of angles, leaping from a long-distance view to a close-range inspection of every detail. It is obvious that with this extraordinary power of handling space and time--by elimination and emphasis, according to its dramatic needs--the motion picture can never be content with modeling itself after the stage.LESSATTRIBUTION DETAIL »
When the object is perceived as particular and unique and not merely the member of a family, when it appears independent of any ge...neral notion and detached from the sanity of a cause, isolated and inexplicable in the light of ignorance, then and only then may it be a source of enchantment.LESSATTRIBUTION DETAIL »
The artistic performance of a stage actor is definitely presented to the public by the actor in person; that of the screen actor, ...however, is presented by a camera, with a twofold consequence. The camera that presents the performance of the film actor to the public need not respect the performance as an integral whole. Guided by the cameraman, the camera continually changes its position with respect to the performance. The sequence of positional views which the editor composes from the material supplied him constitutes the completed film. It comprises certain factors of movement which are in reality those of the camera, not to mention special camera angles, close-ups, etc.... Also, the film actor lacks the opportunity of the stage actor to adjust to the audience during his performance, since he does not present his performance to the audience in person. This permits the audience to take the position of a critic, without experiencing any personal contact with the actor. The audience's identification with the actor is really an identification with the camera.LESSATTRIBUTION DETAIL »
What then is the difference between film and theatre? Or should one not rather ask: what are the differences? Let us be content wi...th the reply that the screen has two dimensions and the stage three, that the screen presents photographs and the stage living actors. All the subtler differences stem from these. The camera can show us all sorts of things--from close-ups of insects to panoramas of prairies--which the stage cannot even suggest, and it can move from one to another with much more dexterity than any conceivable stage. The stage, on the other hand, can be revealed in the unsurpassable beauty of three-dimensional shapes, and the stage actor establishes between himself and his audience a contact real as electricity.LESSATTRIBUTION DETAIL »
The camera relieves us of the burden of memory. It surveys us like God, and it surveys for us. Yet no other god has been so cynica...l, for the camera records in order to forget.LESSATTRIBUTION DETAIL »