A Quote by Alejandro Gonzalez Inarritu
The expected vertical line of Ikiru's narrative breaks when Kurosawa does a flash-forward in the middle of the film.
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Kurosawa is my hero, and I've taught courses on his films, and I love what he does, and 'Rashomon' is, I think, his second greatest film after 'Ikiru.'
There's this guy: his name, Sedik Ali. He's like the African Kurosawa. You know how Kurosawa does stuff from feudal Japan? This guy does the feudal system of Africa.
What line breaks add to prose prosody is a connection between eye
and ear which emphasizes the nature of the language by ... creating
units of intent and emphasis, and by contouring the meloding pitch
changes in the narrative-line.
In the spiritual life, you must take one step forward each day in a vertical line, from the bottom up.
Movies have these transcendent moments where everything is just right, from the dialogue to the music to the lighting to the narrative context; everything is just perfect, and something magical happens - the film breaks through the screen and does something to you.
It is very linear storytelling, and I think that's not so much the fashion. I was watching a new drama the other night which was extremely non-linear, where you flash back and flash forward in ways that certainly keeps you on your toes as the audience. There's not much of that courage with the storytelling in our Maigret film.
The only kind of notebook I actively dislike is the steno pad, entirely because of that vertical line down the middle of the page. I presume it has some arcane secretarial use, but to me, it's both ugly and confusing.
I think Kurosawa was one of the first storytelling geniuses who began to change the narrative structure of films.
A vertical line is dignity. The horizontal line is peaceful. The obtuse angle is action. That's universal, it is primary.
I was in Japan, and my assistant director had worked with Kurosawa. I used quite of number of Kurosawa's crew.
'Saw' really was like a student film for me; we expected it to go straight to video. I never expected anyone to see that film, and then it becomes one of the most successful horror franchises.
A baby is expected. A trip is expected. News is expected. Forgetfulness is expected. An invitation is expected. Hope is expected. But memories are not expected. They just come.
I don't think you can talk about progress in art - movement, but not progress. You can speak of a point on a line for the purpose of locating things, but it's a horizontal line, not a vertical one.
In an episodic treatment, such as a teleplay is, you have the ability to do what you can do in a novel, which is flash back and flash forward in the same instant, in the same scene, in the same voice.
If one line about the film excites me, I try to take it forward.
I think tax breaks for diversity is a good thing. In film now, what happens is you get huge tax breaks if you can prove via your hiring practices and via casting, that the film is British, you get a tax break. Wouldn't it be great if you got a tax break because the film was properly diverse?
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