[Alfred] Hitchcock was very interested in the image on the screen.As is any good cinema director. That is the language they speak. It is not literature, it is images on screen.
The director [Elfar Adalsteins] came to me through my agent and I had a read of the script [of the "Sailcloth]. I thought immediately this is someone who is writing for the cinema. Not having to go through the tedious business of taking something from literature and making that awful leap that is so difficult to make anyway, from literature to cinema. It's refreshing to be able to deal with a subject like that, to be written where the driving force is the image on screen and you don't need any words. The more that we can do that [in film], the better.
We go to the cinema we see images projected on the screen - but they're not real, they're only images.
Animation translates well to a small screen. When you look at Walt Disney or Chuck Jones - you know, Bugs Bunny - there really isn't any difference if you watch on a very big screen or a computer screen.
I feel like my job as a storyteller and director is to create an experience where the audience forgets they're in a cinema and can get lost in the story. Things popping out of the screen call attention to the artifice of what you're doing, so I use 3D as more of a window into a world behind the screen.
I worked with the best directors - Martin Scorsese, John Huston, David Lynch, Alfred Hitchcock. Alfred Hitchcock was great.
They know you're not Alfred Hitchcock, but you need to be enough Alfred Hitchcock for them not to be bothered by it. That's a reassuring thing.
A large part of my filmmaking self has to do with my love of being in the cinema audience, and my relationships to what I want to see on the screen, what I have seen on the screen and what I don't want to see on the screen again.
It's hard to imagine anyone interested in film not being a fan of Alfred Hitchcock because he's such a key influence on the entire history of cinema - it's hard to escape his shadow.
I said the screen will kill the reader, and it has: the movie screen in the beginning, the television screen, and now the coup de grace, the computer screen.
As with sound, images are subjective. You and I may not see the same color red as red, but we will probably agree that the image on the screen is a digital image or film image, based on contrast, bit depth, and refresh rate.
Consciousness is the screen. The images on the screen are your perceptions, the illusion that life is solid, that there is a material universe.
William Castle and Alfred Hitchcock were the first director-personalities. Before then, nobody in America knew what a director was.
Film is not literature - the image on screen is the information you get.
It's a very different thing when you're able to read something and see it in your mind, then to imagine it on screen. It's emotional transference that you don't have in literature that you have in movies. People invest in the person they see on the screen and they can't shift gears.
I can see that cinema seems to be finished. Everybody has a bigger screen at home. I'm assuming eventually you won't need a screen at all - these iPhones will just project.
I have been so great in boxing they had to create an image like Rocky, a white image on the screen, to counteract my image in the ring. America has to have its white images, no matter where it gets them. Jesus, Wonder Woman, Tarzan and Rocky.