Experimental Films Quotes

I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.

Saroj Kumar is plagued with insecurity about how he can survive in the industry, what with new, better looking actors coming up, and experimental films taking over his once popular box-office success formulas.

Mostly I do films that mainstream Hollywood wouldn't touch.

I wasn't really sure about the kind of films I wanted to be a part of. That's when I saw 'Aaranya Kaandam.' I was stunned; it was such a stylish film.

There are lots of great movies coming out of the U.S. but it's not something I've ever really been interested in. They're great films but I much prefer the smaller independent films, which are more thought provoking and experimental.

My first film was a comedy, but after that I went always into more heavier stuff.

People either know Alan Rudolph and love every single one of his films or they don't know him at all.

I came out of independent film, that's my roots.

I want to do experimental films.

There's no question that the '70s themselves were really wide open. There was just so much being done at that time. Every year, the major studios were commissioning things that they would never touch today or even thought of touching in the 1950s.

Indie film isn't dead, it just grew up.

Free time keeps me going. It's just something that's always been a part of my life. I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.

Cinematically, anything like 'Khawto' in Bengali cinema hasn't happened. Yes, you get such films in Hollywood, a few in Bombay. In Bengali literature, you get such stories in the works of Samaresh Basu and Buddhadeb Guha.

All of my films have been very hard to understand at the script stage because they're very different. At the time I did them they were not conventional. The executives could only think in terms of what they'd already seen. It's hard for them to think in terms of what has never been done before.

I think, since the beginning, I have been attracted to unconventional films.

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.

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

I do a lot of weird movies that maybe you don't like and I experiment a lot but maybe I do appreciate the process and I think my greatest joy in this business is that I have had the ability to screw up in a lot of really interesting films!

Generally speaking I would say I enjoy the smaller films more because there's a less sense of pressure and often the material is more unusual.

I can't stand modern movies. The images are too weird and eccentric for me.

Basically, I have always wanted to have an art-house cinema. A cinema where we can show films that are not necessarily the current offerings on circuit and films that are not commercial.

I think it's important to do smaller films because I think that's where a lot of new things are happening.

I grew up watching all these crazy movies, European movies and stuff, and I guess that I always laughed at things that were a little more offbeat.

I figured I would be teaching my whole life and making experimental films on the side.

The Danish filmmakers are a unique breed of filmmakers, with the Dogme films and Lars von Trier.