A Quote by Ambrose Bierce
PANTOMIME, n. A play in which the story is told without violence to the language. The least disagreeable form of dramatic action.
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It's the purest form of silver and our tagline is "Taking the 'except fors' out of movies." We're trying to make movies with pure story - without the derogatory sex, violence and language to (rely on) a good story.
Freed from the sublimated form which was the very token of its irreconcilable dreams - a form which is the style, the language in which the story is told - sexuality turns into a vehicle for the bestsellers of oppression. ... This society turns everything it touches into a potential source of progress and of exploitation, of drudgery and satisfaction, of freedom and of oppression. Sexuality is no exception.
I like poetry, but honestly, I like dramatic literature more. If I had to pick between Rumi and Dostoevsky, I would pick Dostoevsky without even thinking about it. Ninety-nine out of 100 Iranians would probably pick Rumi. Kiarostami, too, would probably pick Rumi first. I try to have the meaning be in the action of the story, not in the symbolism. I want it to be in the action, and it's dramatic action that creates the meaning.
Plays are literature: the word, the idea. Film is much more like the form in which we dream - in action and images (Television is furniture). I think a great play can only be a play. It fits the stage better than it fits the screen. Some stories insist on being film, can't be contained on stage. In the end, all writing serves to answer the same question: Why are we alive? And the form the question takes - play, film, novel - is dictated, I suppose, by whether its story is driven by character or place.
Those who don't understand any language other than the language of force and violence don't respect human dignity. They seek violence because they will be irrelevant without it. We should not go their way.
In Kosovo, the U.S. has chosen a course of action that escalates atrocities and violence. It is also a course of action that strikes a blow against the regime of international order, but which offers the weak at least some protection from predatory states.
I told the students that we can exert pressure without resorting to violence, and that we can move towards democracy without violence; that way, God will allow it.
You see, for me a painting is a dramatic action in the course of which the reality finds itself split apart. For me, that dramatic action takes precedence over all other considerations. The pure plastic act is only secondary as far as I'm concerned. What counts is the drama of that plastic art, the moment at which the universe comes out of itself and meets its own destruction.
Because of my language and the pantomime with which most Europeans accompany their speech, I was catalogued as a heavy.
It's probably why I'm a short story writer. I tend to remember things in the past in narrative form, in story form, and I grew up around people who told stories all the time.
Action without intelligence is a form of insanity, but intelligence without action is the greatest form of stupidity in the world.
Some novels present a story form many points of view. Most movies tell only one person's side of the story. Sometime it's easy to use the strongest point of view, or find the character with the most dramatic experience. It depends on which themes the scriptwriter wants to explore.
American violence is public life, it's a public way of life, it became a form, a detective story form. So I should think that any number of black writers should go into the detective story form.
I do think, or rather I sense that there is a relationship - at least in my own work - between a dramatic structure, the form and sound and shape of a play, and the equivalent structure in music. Both deal with sound, of course, and also with idea, theme.
Ambivalence reaches the level of schizophrenia in our treatment of violence among the young. Parents do not encourage violence, but neither do they take up arms against the industries which encourage it. Parents hide their eyes from the books and comics, slasher films, videos and lyrics which form the texture of an adolescent culture. While all successful societies have inhibited instinct, ours encourages it. Or at least we profess ourselves powerless to interfere with it.
Some people draw a comforting distinction between force and violence. I refuse to cloud the issue by such word-play. The power which establishes a state is violence; the power which maintains it is violence; the power which eventually overthrows it is violence. Call an elephant a rabbit only if it gives you comfort to feel that you are about to be trampled to death by a rabbit.
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