A Quote by Ernst Lubitsch
Any good movie is filled with secrets. If a director doesn't leave anything unsaid, it's a lousy picture. If a picture's unsaid, it's a lousy picture. If a picture is good, it's mysterious, with things unsaid.
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I will be so glad to take the picture and pose and look good for the picture. But when you catch me while I'm looking real sideways and the picture's ugly as hell, I don't want you to have the picture like that!
What do we need all that for?”If a picture is psychologically motivated, if there is truth in the relationship in it, then I think that picture will do good. I firmly believe Rebel Without A Cause is such a picture.
When an artist paints a picture he does not want you to consider his personality as represented in that picture - he wants you to look at the beauty of that picture. No one cares who has painted the picture as long as it is beautiful.
There's something special about working with picture and adding music to picture that really takes you to a whole new level. It's always the director's picture first, and I'm there to help tell the story.
I really approached the film as if it was a white big piece of paper and I was going to draw a picture on it. And whether that picture was good or bad, whatever people thought of it, what they could never take away was that it was my picture.
What is an artistic picture? An artistic picture is very simple. The creator is not the producer. The creator is not the star. The creator is the director, the person who realizes the picture, like a poet, like an artist. The creator of the picture is free to do whatever he wants, how he wants to do it. That is an artistic picture.
If you want me to explain the picture, if you put it in reality, then the mystery goes away. The situation just catches you and you think it is absurd or mysterious and you just take the picture. You dont want to see the bare reality of what happened. I took the picture as the picture, not as the realistic story of what happened.
I don't see myself as a movie maker only. When I can do a picture, I do. But I don't work like a business, in pictures. I am not obliged to make one picture after the other in order to live. I write books, I write for comic books, I give lectures... I live. And when the opportunity comes to do a picture, I do a picture.
I always think, 'What does this picture mean? What's the best place to put my camera? Do I have anything extra in the picture, things in the background that will distract? Am I in the basic position that will give the essential things for this picture but not too much?'
Poetry teaches us things that cannot be learned in prose, such as certain kinds of irony or the importance of the unsaid. The most important element of any poem is the part that is left unsaid. So the poetry frames the experience that lies beyond naming.
I feel like the quality of privacy and respect of people's personal space has been completely disintegrated. You can ask to take the picture. I will be so glad to take the picture and pose and look good for the picture.
More and more people are seeing the films on computers - lousy sound, lousy picture - and they think they've seen the film, but they really haven't.
A good picture, any picture, has to be bristling with razor blades.
The job is trying to create movie shots that have depth, that have the meanings you need them to have, and then good enough so that they will add something to the final picture. They will make the picture; they'll get into the picture, and give them what they need. It's an interesting job.
I never know if my picture is a good picture or a bad picture, because I'm not making pictures thinking of the public, I'm making pictures to realize myself.
My scripts are always filled with notes. I like to just analyze everything from the point of view of the whole picture, of the movie, my whole picture.
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