A Quote by Joe Wright
I'm very interested in dance, and I'm very interested in how people express themselves through movement. And of course, cinema is a kinetic art form. It's almost the point of cinema - it's time-based and movement-based.
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Positive psychology is both a movement and a science. The movement involves absolutely anyone who is interested in evidence-based approaches to improving well-being, either for themselves or for their community. I invite you to join this movement!
We must have song and dance in our lives; we've had it ever since the inception of cinema in India. Our stories are very social-based, very human-based. We are a very emotional nation.
My influences come from real life. I'm not interested in cinema for cinema's sake. I'm interested in life - what one does and how one interacts.
A lot of our insights are based on the ways in which people spend time at museums. They're curious, open, interested, and engaging. They want to express themselves and see their own identity refracted through the museum's.
I think I'm very interested in people, in the way our minds work and how we navigate through the experience that is life. Very interested in people's struggles and their choices and their regrets and joys. I'm very interested in the human animal.
You know, comics were created at the same time as the cinema. And the cinema very quickly became a major art. Cartooning didn't become a major art. There's a reason for that. People don't know how to deal with drawings.
I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between.
I am not at all interested in theories about cinema. I am only interested in images and people and sound. I am really a very simple person.
All types of knowledge ultimately lead to self-knowledge. So, therefore, these people are asking me to teach them, not so much how to defend themselves or how to do somebody in. Rather, they want to learn to express themselves through some movement, be it anger, be it determination or whatever. So, in other words, they're paying me to show them, in combative form, the art of expressing the human body.
I'm not interested in a group of people with some sort of incredible homogeny,a group that can do the movement I want. I'm interested in people whocan take the movement somewhere.
I've always sought to get after something that's foundational in people. That comes through my faith, through my belief in life, through trying to hit something that's true every time. I think that's really where you move people, when you touch on something that's true, that's not based on fluff or based on a moment or a movement.
. . . it is true that language and forward movement in the cinema are jolly hard to reconcile. It's a very, very, difficult thing to do. . . . There is still a place in the cinema for movies that are driven by the human face, and not by explosions and cars and guns and action sequences . . . there's such a thing as action and speed within thought rather than within a ceaseless milkshake of images.
One movement that I find interesting - this is not a movement in poetry necessarily, but there's a movement on a lot of campuses now called eco - criticism. It's a body of theory based on how nature is treated in literary works. That sort of interests me.
Cinema is a kind of pan-art. It can use, incorporate, engulf virtually any other art: the novel, poetry, theater, painting, sculpture, dance, music, architecture. Unlike opera, which is a (virtually) frozen art form, the cinema is and has been a fruitfully conservative medium of ideas and styles of emotions.
Good cinema is what we can believe and bad cinema is what we can't believe. What you see and believe in is very much what I'm interested in.
The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn't.
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