A Quote by Danny Glover

Today's cinema is a proliferation of comedies, which are in some ways creating caricature images. They're one-dimensional. — © Danny Glover
Today's cinema is a proliferation of comedies, which are in some ways creating caricature images. They're one-dimensional.
Just look at the cinema itself: It's comprised of lots of movies about graphic novels, and if you're not 20 years old and wearing a cape and a mask and white, you're out of business. Today's cinema is a proliferation of comedies, which are in some ways creating caricature images. They're one-dimensional.
There is no one kind of thing that we 'perceive' but many different kinds, the number being reducible if at all by scientific investigation and not by philosophy: pens are in many ways though not in all ways unlike rainbows, which are in many ways though not in all ways unlike after-images, which in turn are in many ways but not in all ways unlike pictures on the cinema-screen--and so on.
Inasmuch as it's a culture, cinema is the only thing at our disposal with which we can recognize ourselves in today's images. As an instrument it's inevitably inadequate, but it's the only one.
The history of cinema appears to be easy to do, since it is, after all, made up of images; cinema appears to be the only medium where all one has to do is re-project these images so that one can see what has happened.
I don't like that we repeat a certain expression over and over again because I think it narrows the way that we look on the world. I also think that there is a certain responsibility if you work with moving images because it's so strong in creating behaviour; it's so strong in creating the way that we look on the world, so for me it's very important that I create images that I have an experience of or is something that I think exists in the world and not just in cinema.
Narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verité is film in its purest form. You're taking random images and creating meaning out of random images, telling a story, getting meaning, capturing something that's real, that's really happening, and render this celluloid sculpture of this real thing. That's what really separates the power of doc filmmaking from fiction.
In some ways, I feel like the strength of animation is in its simplicity and caricature, and in reduction. It's like an Al Hirschfeld caricature, where he'll use, like, three lines, and he'll capture the likeness of someone so strongly that it looks more like them than a photograph. I think animation has that same power of reduction.
I actually love Scorsese comedies. He's an underrated comedy director. I think his comedies are some of the best comedies ever made.
We may say that hysteria is a caricature of an artistic creation, a compulsion neurosis a caricature of a religion, and a paranoiac delusion a caricature of a philosophic system.
There is an interesting and new way to be excited about the fashion world today maybe. The traditional path of fashion as simple magazine images has dissolved - we are seeing new and innovative ways to share, create, and enjoy ideas. I am challenged to learn and explore paths of finding new photographers, stylists, and vision-makers online or through direct contact, connecting with ideas and creativity in new ways, and making images with different outlets. Sometimes more unbridled avenues and unconventional ways lead to things I wouldn't have thought of yet.
The oceans are in trouble. There are some serious problems out there that I believe are not clear to many people. My hope is to continually find new ways of creating images and stories that both celebrate the sea yet also highlight environmental problems. Photography can be a powerful instrument for change.
I'm very interested in how we read things, especially the link between seeing two-dimensional and three-dimensional images, because of how I read.
People are mistaken to view cinema as some sort of gimmick. It's very much ingrained in the ways in which we understand each other.
We go to the cinema we see images projected on the screen - but they're not real, they're only images.
My cinema - the '50s, '60s - is different from the cinema today so I thought that it would not be bad to show that kind of cinema where we could dream.
No actor can play a villain if they don't sympathise with him or her - otherwise the character just becomes a two-dimensional caricature.
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