A Quote by Alain Resnais
I never thought of becoming a director. When I was twelve, the passage from silent film to the talkies had an impact on me - I still watch silent films.
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When I was twelve, the passage from silent film to the talkies had an impact on me-I still watch silent films. I don't think that there is any such thing as an old film; you don't say, 'I read an old book by Flaubert,' or 'I saw an old play by Moliere.'
I like some of the early silent films because I love to watch how actors had to play then. What would interest me today is to do a silent film.
The silent film has a lot of meanings. The first part of the film is comic. It represents the burlesque feel of those silent films. But I think that the second part of the film is full of tenderness and emotion.
My father had been an avid fan of Chaplin during the silent film days, but when the talkies came along, my father lost all interest in movies.
When I switched to screenplays - 'cause I had done musicals and plays - the first assignment in film school was, you have to write a silent film. And it's tremendously helpful to learn how to do that because dialogue can be a crutch. If you can master a silent film, you're golden.
As my prayer became more attentive and inward, I had less and less to say. I finally became completely silent... This is how it is. To pray does not mean to listen to oneself speaking. Prayer involves becoming silent, and being silent, and waiting until God is heard.
The core plot of 'Mercury' is so gripping that when I thought of making it as a silent film, it only made it more interesting. Once I finished writing the first draft, making a silent film that's both thrilling and engaging seemed possible. When the film team read the final script, they felt the same.
Do you know anything about silent films?" "Sure," I said. "The first ones were developed in the late nineteenth century and sometimes had live musical accompaniment, though it wasn't until the 1920s that sound became truly incorporated into films, eventually making silent ones obsolete in cinema.
Is there anything on earth which would have meaning and would even change the course of events not only on earth, but in other worlds?” I asked my teacher. “There is,” my teacher answered me. “Well, what is it?” I asked. “It’s...” began my teacher and suddenly fell silent. I stood and waited intently for his answer. But he was silent. And I stood and was silent. And he was silent. And I stood, silent. And he was silent. We’re both standing and silent. Ho-la-la! We’re both standing and silent. Ho-le-le! Yes, yes, we’re both standing and silent! 16-17 July 1937
It would have been more logical if silent pictures had grown out of the talkies instead of the other way around.
My father, who was a good deal older than my mother, had basically grown up with silent films; sound didn't arrive until he was 30 years old. So he took me to see silent pictures at MoMA when I was 5 or 6 years old.
It's so sad to me [see the director's versions of films] because it shows how the filmmaker never got to make the film he had originally envisioned. You watch it and go, "Oh my god, he had to cut that scene! I can't believe it."
I wasn't that familiar with silent films. I didn't know, for example, how hugely popular silent films were in the 1920s, how people would go to the movies several times a week.
I love the silent era because you can see the rules being written, the grammar of film being created. Most of my films are in some way love letters to the silent era.
I'm a big fan of silent cinema and I think that before I got into the canon of European arthouse cinema, the first interesting films I liked as a kid were German expressionist silent films.
My father is a silent cinema freak, so he took me to 1925 silent films that took forever, like 5-hour movies, but I've seen a lot of that stuff since I was young. And then I saw the film 'Annie,' and I just wanted to be Annie; I just wanted to be that orphan kid and wanted to sing and dance.
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