A Quote by Ingmar Bergman
Film as dream, film as music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames a second, darkness in between, the optic nerve incapable of registering darkness.
Related Quotes
No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul.
Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.
We have all kinds of limitations as human beings. I mean we can't see the whole electromagnetic spectrum, we can't see the very small, we can't see the very far. So we compensate for these short comings with technological scaffoldings. The microscope allows us to extend our vision into the microsphere. The telescope allows us to extend our vision into the macrosphere, the Hubble Space Telescope extends our optic nerve into space, and it allows us to mainline space and time through our optic nerve.
When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination. The sequence of pictures plays directly on our feelings. Music works in the same fashion; I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence.
Film is lies at twenty-four frames a second.
There is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect.
Film can express things that computers never will. Film is a series of photographs separated by split seconds of darkness. Film is light and shadow.
It's absolutely chilling to think that I've been working on a comic-book series called 'Optic Nerve' since I was sixteen.
I call it a comedy film, but I feel that is because 'Sholay' is a complete film. It is the best in every aspect. You see the music, the editing, dialogues, action, drama, tragedy, and the emotions of this film and you will find everything is perfect. It is a flawless film.
But it wasn't just a technical approach towards the piano, studying the music for this film was also a way of approaching the soul of the film, because the film is really about the soul of Schubert and the soul of Bach.
Lots of people expect 'Andhadhun' to be a dark film, given it's from Sriram Raghavan. But this film is fun, entertaining, thrilling, and while it has moments of darkness, overall it's not a dark film.
I had a tumor in my left eye which killed the optic nerve, but it's my real eye. I just cannot see out of it.
I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.
Our spiritual mission is not to ignore the darkness, but to bring light TO the darkness. Ignoring darkness does not dispel it; only the light does. That is the difference between denial and transcendence.
When I first started drawing the earliest incarnation of 'Optic Nerve,' I hadn't even been on a date; I hadn't had a romantic relationship of any kind yet, so in a way, I was almost writing science fiction.
To me, a revolutionary film is not a film about a revolution. It has a lot more to do with the art form. It's a film that is revolting against the old established language of cinema that had been brainwashing the people for decades. It is a film that is trying to find ways to use sound and image differently.
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