A Quote by Jia Zhangke
Language is so specific to art, all the way to the past in China. Previously, people were not allowed to include various regional dialects in their films, but in every film that I've made, I've maintained the regional dialects of the characters because I wanted to make films that were locally specific.
Related Quotes
The contribution of West African languages to Ebonics is absolutely infinitesimal. What it actually is is a very interesting hybrid of regional dialects of Great Britain that slaves in America were exposed to because they often worked alongside the indentured servants who spoke those dialects that we often learn about in school.
When we started on 'Power,' I was committed to respecting the differences among Spanish dialects: Dominican, Nuyorican, Mexican, etc. I wanted the language our characters spoke to be as specific as possible, to reflect New York as it is.
I have regional films, Bengali and Telugu, but always wanted to do a Marathi film especially because I think this industry makes the best comedy films.
The moment there's a foreigner in a film it gives a novelty to the script. We make regional films and we need to hype our films.
While Bollywood still remains my priority, I always wanted to do regional cinema. There are so many people who don't know Hindi, so I decided to do regional films wherein even those who don't know me can see my work.
I knew that all South Indian language films were first made in Chennai and that Tamil Nadu is one of the biggest film-producing centres in the country. I wanted to be part of films here.
I didn't know I wanted to do films until I started to do them. Very few films are made in Mexico and film-making belonged to a very specific group, a clique.
All this while when I was not seen in Hindi films, I did a lot of regional cinema. I was a part of various Gujarati, Punjabi and Bhojpuri films.
Regional films have a great impact on the audience, especially because of the proximity of the language with the people.
I see things in a specific way. All the films are different. There are specific characters and scenes and locations and ideas. There are colors I want to see. There are movements and things ... The films are different, but the approach is the same.
As a nation we love our dialects, and there is a lot of regional variance in the names for different foods - barmcake, bap or bun anyone?
I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
People talk about making art films - experimental films. I can make an art film every day of the week. Nothing to it. What's difficult is to combine a commercial film with art.
Many people are under the delusion that I'm just a special-effects man, but I've worn many different hats in my day. On every film I've been involved in, I worked with the writer and producer. We really formulated those scripts. We tried to make films that were logical but still had the fantasy feel of it. I enjoy Aardman Animation's films with Wallace and Gromit, but they're obvious puppet films, whereas we tried to disguise it and make our effects characters in the films rather than obvious puppets.
Blaxploitation films were black films targeting black people. They were films made to appeal to a culture in a way that was supposed to be unfiltered.
The Language of the Dream/Night is contrary to that of Waking/Day. It is a language of Images and Sensations, the various dialects of which are far less different from each other, than the various Day-Languages of Nations.
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