Ingmar Bergman Quotes

I believe the most interesting thing to look at in the world is the human face, so that is why I tend to be a little closer to human faces than maybe other directors will be.

It's a risk, but I'm sort of ready to let go of thinking of movies as books that you can watch. The notion of, 'If I put the narrative blocks in the right order, this will solve all of my storytelling problems.' No, it won't, and you end up with little more than books on film.

I love films that make me react emotionally and physically when you walk out of the cinema. Two of my favorite films however have got to be 'The Tree Of Life' and 'The Piano Teacher,' which also stars one of my favourite actresses Isabelle Huppert.

It's about storytelling. The story is told through images. So with the cast, I had to make sure that the emotions were readable without sound... I know some great actors, if you turn off the sound, you don't really know what they're saying.

I think there's a connection with 'Nightcrawler' and 'Blowup' and other films where visual imagery is integral to the story. It allows you to play with images.

I often concentrate on the eyes and lips, they are great indicators of mood and feeling, and I find that I can project character into my portraits by bringing the viewer's attention to these areas.

As an actor, you have many tools - your body, your voice, your emotions, mentally. In film, you have your eyes because they communicate your thought process. In fact, generally in film, what you don't say is more important than what you say. That's not so much the case for stage.

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.

Cinema is not a series of abstract ideas, but rather the phrasing of moments.

I love moments in film where there's no dialogue, and somebody communicates something with a look that kills you. That's why I love going to the cinema.

I don't use film in the way that the great auteurs do. I use film, the camera, to record as effectively and as perceptive as I am able what I want to say through the actors.

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.

Early on, many years ago when we started 'Avatar,' the executive that we were working with said to make the sad scenes sadder, the funny scenes funnier, the scary scenes scarier. That was kind of permission to do what we felt comfortable with.

The director [Elfar Adalsteins] came to me through my agent and I had a read of the script [of the "Sailcloth]. I thought immediately this is someone who is writing for the cinema. Not having to go through the tedious business of taking something from literature and making that awful leap that is so difficult to make anyway, from literature to cinema. It's refreshing to be able to deal with a subject like that, to be written where the driving force is the image on screen and you don't need any words. The more that we can do that [in film], the better.

This fascination with the human face has never left me... Every face I see seems to hide and sometimes, fleetingly, to reveal the mystery of another human being... Capturing this revelation became the goal and passion of my life.

For me, collages manage to - it satisfies all of my madness, like I'm able to make these obsessive things, but then I'm also able to make these very strong statements. I don't know what they mean to other people, but in my mind, they have a very strong particular resonance; there's sort of a power.

I try to write cinematically. Let me define what I mean by that. First of all, I try to write in a visual way so that the reader can watch a movie in their head. And it keeps moving. I try to structure the stories like a screenplay may be structured.

My role as an artist helps me tremendously in breaking down each story. Pacing, layout, movement - having drawn a few thousand pages, I understand the language of comic books very well.

A strong story can move me to tears, and it doesn't matter whether it's a science-fiction or fantasy world. It's about what happens to a person, the choices they make. That's what's interesting.

Professional cinema image-taking should integrate, serve, interest, and enhance the story. I judge cinematography not just for a story well told but for what the story is.

Establishing mood through pictorial means is the director Ridley Scott's most notable talent. There may be no working director more accomplished at wringing texture out of the color blue than the prodigious and now prolific Mr. Scott; you'd swear that with his dazzling washes of blues and sand tones, he was inventing additional hues on the spot.

Film has its own innate poetry.

For me, I'm not a great wordsmith, and so maybe from lack of great dialogue writing, I thought it's easier and better to express a story through visuals.

In earlier comics, my only priority was telling a joke in the last panel, but now I try to make every panel as interesting as possible, and that normally means at least a li'l joke there.

Silent films weren't so different from my comics - the basic choice both offer an artist is what do you show and what do you tell.