... the movie woman's world is designed to remind us that a woman may live in a mansion, an apartment, or a yurt, but it's all the... same thing because what she really lives in is the body of a woman, and that body is allowed to occupy space only according to the dictates of polite society.LESSATTRIBUTION DETAIL »
I stopped reading movie magazines in the beauty parlor a couple of years ago because I could not accommodate any more information ...about something called the Lennon Sisters.LESSATTRIBUTION DETAIL »
I discovered early in my movie work that a movie is never any better than the stupidest man connected with it. There are times whe...n this distinction may be given to the writer or director. Most often it belongs to the producer.LESSATTRIBUTION DETAIL »
I think it's awful and ugly and a complete waste of talent. Why is he wasting his talent? ... why doesn't he make a movie that wou...ld uplift kids and teach them something? All this sex and violence, sex and violence. He's like a dog chasing his tail.LESSATTRIBUTION DETAIL »
It seems only yesterday that we saw The movie with the cows in it... And turned to one at your side, who burped As morning saw a new garnet-and-pea-green order propose Itself out of the endless bathos, like science-fiction lumps.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 »
The geometry of landscape and situation seems to create its own systems of time, the sense of a dynamic element which is cinematis...ing the events of the canvas, translating a posture or ceremony into dynamic terms. The greatest movie of the 20th century is the Mona Lisa, just as the greatest novel is Gray's Anatomy.LESSATTRIBUTION DETAIL »
The theater-goer in conventional dramatic theater says: Yes, I've felt that way, too. That's the way I am. That's life. That's the... way it will always be. The suffering of this or that person grips me because there is no escape for him. That's great art--Everything is self- evident. I am made to cry with those who cry, and laugh with those who laugh. But the theater-goer in the epic theater says: I would never have thought that. You can't do that. That's very strange, practically unbelievable. That has to stop. The suffering of this or that person grips me because there is an escape for him. That's great art--nothing is self-evident. I am made to laugh about those who cry, and cry about those who laugh.LESSATTRIBUTION DETAIL »
My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed o...n film but, placed in a certain order and projected on to a screen, come to life again like flowers in water.LESSATTRIBUTION DETAIL »