A Quote by Abbas Kiarostami
Film is very much a universal and common voice, and we can't limit it to one particular culture.
Related Quotes
American culture is kind of a universal culture, I guess. It's things Greeks grew up with, common references you can use. It's very interesting.
It is a culture voice, but it is a very American culture voice, and I am very used to English culture voice. So I had to work like hell to flatten those R's.
Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.
For humanism also appeals to man as man. It seeks to liberate the universal qualities of human nature from the narrow limitations of blood and soil and class and to create a common language and a common culture in which men can realize their common humanity.
The film [Close Up] made itself, to a large extent. The characters involved were very real, I wasn't directing the actors so much as being directed by them. So it was a very particular film.
If anything is scary about my writing, it's that it's the product of a very particular vision and doesn't reference common speech that heavily. By 'common speech,' I don't mean language as much as an agreed-on way of seeing, or a shorthand.
The mathematics of rhythm are universal. They don't belong to any particular culture.
The King saw them with no common satisfaction, expressing his desire in no particular to have yt Stellar fish engraven and printed. We wish very much, Sir, yt you could procure for us a particular description of yesd Fish, viz. whether it be common there; what is observable in it when alive; what colour it then hath; what kind of motion in the water; what use it maketh of all that curious workmanship, wch Nature hath adorn'd it with?
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
Voice acting is very interesting, I've done several animated projects, and you have to make the voice reflect the character and try and do as much with a word as you can with a look in a live-action film.
Even personal tastes are learned, in the matrix of a culture or a subculture in which we grow up, by very much the same kind of process by which we learn our common values. Purely personal tastes, indeed, can only survive in a culture which tolerates them, that is, which has a common value that private tastes of certain kinds should be allowed.
Meditation, then, is not so much a part of this or that particular religion, but rather part of the universal spiritual culture of all humankind--an effort to bring awareness to bear on all aspects of life. It is, in other words, part of what has been called the perennial philosophy.
I look at a film as just a film; language doesn't really matter. I just don't want to limit myself to a particular language, genre or medium.
I have a different idea of a universal. It is of a universal rich with all that is particular, rich with all the particulars there are, the deepening of each particular, the coexistence of them all.
We discovered this halfway through the process. When we started making the film there were some lines of dialogue in Portuguese, but we then changed our minds. The film started from very specific issues in the world, in particular Latin America, but halfway through the journey we felt the necessity to have more universal ideas that were not so specific.
So much of what I love about poetry lies in the vast possibilities of voice, the spectacular range of idiosyncratic flavors that can be embedded in a particular human voice reporting from the field. One beautiful axis of voice is the one that runs between vulnerability and detachment, between 'It hurts to be alive' and 'I can see a million miles from here.' A good poetic voice can do both at once.
Related Authors
Alejandro Gonzalez Inarritu Quotes
Mexican
Director
Ava DuVernay Quotes
American
Director
David Lynch Quotes
American
Director
George Lucas Quotes
American
Director
Guillermo del Toro Quotes
Mexican
Director
John Waters Quotes
American
Director
Judd Apatow Quotes
American
Director
Martin Scorsese Quotes
American
Director
Nicolas Winding Refn Quotes
Danish
Director
Oliver Stone Quotes
American
Director
Peter Jackson Quotes
New Zealander
Director
Quentin Tarantino Quotes
American
Director
Ridley Scott Quotes
British
Director
Steven Spielberg Quotes
American
Director
Werner Herzog Quotes
German
Director
Woody Allen Quotes
American
Director