A Quote by Kanika Dhillon
In a film we have limited time and space to say what we have to, hence the visual language and brevity needs to be paramount. In a novel, however, we can dissect each thought and emotion and build on it.
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Each time you do a film you gain a lot of experience and build a visual resume where people get to know who you are.
Organizing time is exactly like organizing space. Just as a closet is a limited amount of space into which you must fit a certain number of objects, a schedule is a limited space into which you must fit a certain number of tasks. Each day and each week is simply a container, a storage unit with a definite capacity. The trick is to treat time not as an abstraction but as something solid that you can hold on to and move around.
One thing that you and I know is language. Another thing that you and I know is how objects behave in perceptual space. We have a whole mass of complex ways of understanding what is the nature of visual space. A proper part of psychology ought to be, and in recent years has been, an effort to try to discover the principles of how we organize visual space. I would say that the same is true of every domain of psychology, of human studies.
Writing a novel isn't like building a brick wall. You don't figure out how to do it, and then it gets easier each time because you know what you're doing. With writing a novel, you have to figure it out each time. Each time you start over, you just have the language and the idea and the hope.
To allow millions of people to live together on limited land, we have to go to the sky; we have to build a high rise. But we can still build nature and social space into the towers. Each family can have their own courtyard in the sky.
I'm a big fan of fiction film where you have a story and you have to transform that into a visual language, basically working with actors and also transforming that into how you pronounce that in the visual language of the shots, the construction of the shots and the lighting. All of that appealed to me from the beginning of my career at the university. When I graduated from the university, I wanted to deal mainly with that, with the visual aspect of the movie.
I am a film director, and I work with a visual language, with a visual medium. And I try to make virtue of the use of this visual medium. And I try to make sure what I do speaks the language of cinema.
'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.
There is nothing mysterious about space-time. Every speck of matter, every idea, is a space-time event. We cannot experience anything or conceive of anything that exists outside of space-time. Just as experience precedes all awareness and creative expression, the visual language of our photographs should ever more strongly express the fourth dimensional structure of the real world.
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 world is MADE up of language. We can SAY that the world is composed of little demons doing calisthenics, each one the size of a pissant's eyebrow.... Or we can SAY the world is made of tiny wave mechanical packets of matter hurling through space at near the speed of light.... But notice that what we get each time are WORDS.
One of the great intellectual mistakes Einstein made is that he thought that space and time are physically or ontologically entangled. In the present non-spatial universal computational program, space and time happen to be entangled to the extent that, under certain unique circumstances, changes in spatial measurements indicate changes in temporal ones. However, a change in the program itself may cause space and time to disentangle.
Minds are in limited supply, and each mind has a limited capacity for memes, and hence there is considerable competition among memes for entry in as many minds as possible.
The world of visual perspective is one of unified and homogeneous space. Such a world is alien to the resonating diversity of spoken words. So language was the last art to accept the visual logic of Gutenberg technology, and the first to rebound in the electric age.
Attention spans are so limited and ticket prices so high. We're anyway in a business of manipulating emotions. But each film needs to be positioned truthfully so that people don't feel cheated.
If you've ever compared a film to a novel it's based on, you know the novel gets bludgeoned. It's inevitable, because different media have different strengths and needs, and when you make a movie, the movie's needs get served.
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