A Quote by Joseph Fiennes

I like language, and in film, language is diluted by the visuals and the music. Theatre is what I was trained for. — © Joseph Fiennes
I like language, and in film, language is diluted by the visuals and the music. Theatre is what I was trained for.
The wonderful thing about writing for theatre is you can go anywhere you want with the language. There are no limits. With film, they frown on language - it's always 'Too many words.'
The Urdu or Hindustani language we use isn't popular in theatre these days. It was a language that was being used in cinema from the 1950s until the '80s. It is a very communicative language.
Greek was very much a live language, and a language still unconscious of grammar, not, like ours, dominated by definitions and trained upon dictionaries.
I definitely have moments in my life where I discovered a film, and the language of the film itself spoke to me in a way, as if someone came up to you and started speaking a language you'd never heard but understood and was able to express things the language you knew could not.
We believe we can also show that words do not have exactly the same psychic "weight" depending on whether they belong to the language of reverie or to the language of daylight life-to rested language or language under surveillance-to the language of natural poetry or to the language hammered out by authoritarian prosodies.
Music is language itself. It should not have any barriers of caste, creed, language or anything. Music is one, only cultures are different. Music is the language of languages. It is the ultimate mother of languages.
On stage, you're not limited at all because you're free in language: language is the source of the imagination. You can travel farther in language than you can in any film.
The earliest language was body language and, since this language is the language of questions, if we limit the questions, and if we only pay attention to or place values on spoken or written language, then we are ruling out a large area of human language.
I'm chasing a kind of language that can be unburdened by people's expectations. I think music is the primary model-how close can you get this language to be like music and communicate feeling at the base level in the same way a composition with no words communicates meaning? It might be impossible. Language is always burdened by thought. I'm just trying to get it so it can be like feeling.
The language of film is further and further away from the language of theater and is closer to music. It's abstract but still narrative.
I trained to become a sign-language interpreter because it helps you read physical expression and the emotions of body language.
Music is the language of God. God's language, music, is not like mathematics or geometry. It is a language of love. If we love music, that is enough.
One has to choose between engaging in stylistic research or the mere recording of facts. I feel that a filmmaker must go beyond the recording of facts. Moreover, I believe that Africans, in particular, must reinvent cinema. It will be a difficult task because our viewing audience is used to a specific film language, but a choice has to be made: either one is very popular and one talks to people in a simple and plain manner, or else one searches for an African film language that would exclude chattering and focus more on how to make use of visuals and sounds.
The language of film is further and further away from the language of theater, and is closer to music. It’s abstract but still narrative. Everything feels less rehearsed. It’s more experimental than classical.
Any time there is a film in a 'foreign language,' in Spanish or Korean or whatever language, it's usually not an American film. It's usually from another country.
'Arrival' talks very little about language and how to precisely dissect a foreign language. It's more a film on intuition and communication by intuition, the language of intuition.
This site uses cookies to ensure you get the best experience. More info...
Got it!