Cinematic Poetry Quotes

Movies would be like a broad painted canvas... or a mystical process which cannot really be explained, like, 'What is electricity?' Along with the images that go on the screen, there's a corridor of dialogue that can happen through motion pictures, whether you're aware of it or not.

I never control a film. The film controls me.

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.

In Surojit's film, 'Pagol Hawar Bodol Din,' I am a villager. Victor Banerjee is also part of the film. The uniqueness of 'PHBD' is that the whole film is like a poem.

I love films that are many things at the same time while being simple.

The Hollywood movies are more like novels, and the kinds of films I make are more like poems.

Bergman movies were the most influential. They used to show at Goucher University, which was where my parents used to live. 'Brink of Life' was the first one I ever saw. Three pregnant women in a maternity ward and their misery - I love that. That is what I want to show at my funeral.

In 'Tree of Life,' the cinematography records a small story, a celebration of the courage of everyday life. But it does it so up close and so effortlessly that it has the effect of elevating the intimacy of the story to a grand scale.

The Last Of England works with image and sound, a language which is nearer to poetry than prose. It tells its story quite happily in silent images, in contrast to a word-bound cinema.

A documentary film-maker can't help but use poetry to tell the story. I bring truth to my fiction. These things go hand in hand.

I liked 'The Darjeeling Limited' very much. There was a melancholy about that film that I liked.

I think it's absurd to believe that movies should look like paintings and say something like serious books say something.

In Tim's films, more than most, if you miss the tone, you don't get the film.

The whole thing about making films in an organic film on location is that it's not all about characters, relationships and themes, it's also about place and the poetry of place. It's about the spirit of what you find, the accidents of what you stumble across.

I don't intentionally make deep movies.

There is an audience out there for literate films - slower, more observant, more human films, and they deserve to be made.

My all time favourite films - one is 'Mary Poppins,' and the other one is 'Pakeezah.' 'Pakeezah' was an Indian film. The beauty of 'Pakeezah' was that it had a soundtrack which was pure poetry.

I just love when a movie takes a break and gives you a poetic moment, but sometimes it's good when they just happen randomly. If your actors are really comfortable and you let the camera roll, sometimes things happen and you just see something that's visually iconic, or emotionally that way.

I'm not someone that loves dialogue - I am someone that loves movement. Action, if it's well done, can be very poetic and meaningful.

With Dick Smith there, and the words of Peter Shaffer... they've got to be the most beautiful descriptions in music ever written on film or in literature. And we could hear the music accompanying the words... What more can you ask for?

In the moment of making films, I want to share my observations of life, not of other films.

I went through a period of watching probably too many Bergman films in a row. I felt like I'd discovered the answer to what cinema should be.

[Abbas Kiarostami] is a great artist and a poet. I sometimes think that if Samuel Beckett made films, he'd make them like Kiarostami makes them.

The language of film is further and further away from the language of theater and is closer to music. It's abstract but still narrative.

My films are like clouds: their meaning keeps changing every minute.