A Quote by Bruno Dumont
My thinking was that today's spectator is so well-versed in film language that all theories about suspense, as argued by Dreyer and Hitchcock, on what makes you scared in cinema, can be ditched. It's the spectator, finally, who's going to construct the menace and the fear.
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If 'Spectator Business' works, we will continue this brand extension strategy and look at everything from 'Spectator Arts' to 'Spectator Style and Travel' or 'Spectator Connoisseur.'
Cinema builds memories; great films continue to exist in the spectator's mind. We are naturally capable of and prone to nostalgia. A spectator will reconstruct a film he or she has seen, years later, and may even change their original opinion. One critic, for example, once gave the finger to one of my films; later he wrote me to apologize.
The Spectator' has to be managed and people have to report. We all have bosses in this world and that's true of 'The Spectator' too.
The truth is that works of art test the spectator much more than the spectator tests them.
I give the spectator the possibility of participating. The audience completes the film by thinking about it; those who watch must not be just consumers ingesting spoon-fed images.
I wouldn't use the word 'scared' for my role as Hitchcock, but it was my most insecure. Taking on such a formidable, giant personality such as Hitchcock; he was one of the great geniuses of world cinema. Sheer genius.
The great thing for me is how Hitchcock uses guilt so well. He implicates the spectator in the character's field, and you really feel it, and there's incredible relief when it comes out right - if it does come out right.
The artist invites the spectator to take a journey within the realm of the canvas... Without taking the journey, the spectator has really missed the essential experience of the picture.
The more elaborate your narrative, the more the spectator shuts up and listens obediently. And if the filmmaker keeps quiet, the spectator will himself project his own assumptions and sentiments onto the screen.
I like watching films that are 94 minutes as a spectator. I think it's rare that you don't come out, even from a good film, thinking I wish it could have been a little bit shorter.
The poetics of the oppressed is essentially the poetics of liberation: the spectator no longer delegates power to the characters either to think or to act in his place. The spectator frees himself; he thinks and acts for himself! Theatre is action!
No to spectacle no to virtuosity no to transformations and magic and make believe no to glamour and transcendency of the star image no to the heroic no to the anti-heroic no to trash imagery no to involvement of performer or spectator no to style no to camp no to seduction of spectator by the wiles of the performer no to eccentricity no to moving or being moved.
I still don't feel I know Hitchcock at all. I find that the more one looks, the more elusive he becomes. But my admiration for Hitchcock the filmmaker remains undiminished. He is a giant of the cinema and the darkness in him informs his cinematic language. You can't separate one from the other.
I do feel for me that cinema has somehow ceased to be a spectator sport. I get tremendous excitement out of making it rather than watching it.
My films are intended as polemical statements against the American 'barrel down' cinema and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus.
The duty of a film director is to focus more on the soul of the spectator.
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