A Quote by John Hurt
Film is not literature - the image on screen is the information you get.
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[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.
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.
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.
I bristle a little when the argument for film gets put into the nostalgia ghetto. Film is still the highest quality and best-looking image capture medium available. I don't think it always will be. The digital image will get better, and it will eventually surpass the quality of the film image, but it isn't there yet.
Small screen or big screen my job on set doesn't really change. The only difference with TV is I get to be surprised with new information just like the audience every time I get a script.
Film is a game of projections upon projections, and the projected image on the screen is a game of light and shadows. There is nothing there; it is the brain that is decoding those things. The film doesn't have any decipherable kind of meaning if it's not seen.
My whole goal in my film career is to project a positive image on the screen, that I hope people will enjoy watching.
[Even the mechanism can be endowed with an image. Thus] the thermostat has an image of the outside world in the shape of information regarding its temperature. It has also a value system in the sense of the ideal temperature at which it is set. Its behavior is directed towards the receipt of information which will bring its image and its value systems together.
You get an image after you act in a film, but it is not necessary that you last long because of that image.
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.
Normally if you add information to information, you have more information. In case of my art, I destroy information, I would say, because the image is disturbed by the writings. In a way, they become pure imagery. For me it's really fun because it's an idealistic approach to images, to just play around with information and see what's happening.
I took a very small image and blew it up to enormous scale. What happens when you do that is that the information in the image starts to become indistinct. The image darkens.
I went to Princeton to major in comparative literature. I never went to film school, but I studied storytelling across mediums - poems, literature, film, and journalism.
In England or America, actors do not have to cater to an image. In India, it is almost demanded of us. Very seldom do you get a film where you can walk away from your image.
Film is the packaging of information in cans. Videotape is involved with the feeding back of process. Film rips information away from the situation for use elsewhere. Videotape can be fed back into a given situation and enrich experience. Film extends man as a spectator. Videotape extends man as a cybernator. Film imports information. Videotape implodes indigenous data.
I was inspired by the androgyny of Yohji Yamanoto's designs to translate the clothing's dualities onto screen and image. I was playing with a multitude of influences for the S/S 2012 campaign, inspired by the modernist literature and architecture that is in itself a fusion of political and architectural mantras, both dreamy and concrete.
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