A Quote by John Grierson
I look on cinema as a pulpit, and use it as a propagandist.
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All art is propaganda. ... The only difference is the kind of propaganda. Since art is essential for human life, it can't just belong to the few. Art is the universal language, and it belongs to all mankind. All painters have been propagandists or else they have not been painters. ... Every artist who has been worth anything in art has been such a propagandist. ... Every strong artist has been a propagandist. I want to be a propagandist and I want to be nothing else. ... I want to use my art as a weapon.
I'm just a propagandist and a propagandist doesn't have to know what he is talking about, just so he talks about it most convincingly.
It didn't even occur to me that I could use my strong image in cinema to propagate my political ideas. To me, cinema was cinema and politics was politics.
In the pulpit, we're supposed to present the teaching with all of its unvarnished clarity, but when you step out of the pulpit, you have to meet people where they are and try to walk with them.
In the pulpit, were supposed to present the teaching with all of its unvarnished clarity, but when you step out of the pulpit, you have to meet people where they are and try to walk with them.
The pulpit is ever this earth's foremost part; all the rest comes in its rear; the pulpit leads the world. From thence it is the storm of God's quick wrath is first descried, and the bow must bearthe earliest brunt. From thence it is the God of breezes fair or foul is first invokedfor favorable winds. Yes, the world's a ship on its passage out, and not a voyage complete; and the pulpit is its prow.
I do not intend to use the Surgeon General's Office as a bully pulpit for gun control.
The stage is our pulpit, and you can use all of that energy and that music and the lights and the colors and the sound. But you know, you've got to be careful.
The pulpit and the optimist are always talking about the human race's steady march toward ultimate perfection. As usual, they leave out the statistics. It is the pulpit's way - the optimist's way.
I think it's important for anyone who takes cinema seriously not to limit yourself to just optimistic or happy movies. I think that's a problem. You've got to be willing to let the art of cinema take you into some darker places if you're going to make full use of it.
One of my great goals in life is to live long enough to where I am in the pulpit, preaching my heart out, and I die on the spot, my chin hits the pulpit - boom! - and I'm down and out. What a way to die!
There are things that I love in Iranian cinema and things that I don't. In Iranian cinema, you have to use metaphor because you are living under a dictatorship.
Cinema is not about format, and it's not about venue. Cinema is an approach. Cinema is a state of mind on the part of the filmmaker. I've seen commercials that have cinema in them, and I've seen Oscar-winning movies that don't. I'm fine with this.
A film in which the speech and sound effects are perfectly synchronized and coincide with their visual image on the screen is absolutely contrary to the aims of cinema. It is a degenerate and misguided attempt to destroy the real use of the film and cannot be accepted as coming within the true boundaries of the cinema.
In cinema we have all kinds of ways of communicating: cinematography, lighting, character performance. If you pay attention to silent era movie actors, they are big about postures and really exaggerated expressions so you can understand how they feel. We use all kinds of techniques from cinema to help communicate emotion.
The propagandist must utilize all of the technical means at his disposal - the press, radio, TV, movies, posters, meetings, door-to-door canvassing...There is no propaganda as long as one makes use, in a sporadic fashion and at random, of a newspaper article here, a poster or radio program there.
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