A Quote by Lars von Trier

I had an almost fetishistic attraction to film technology. — © Lars von Trier
I had an almost fetishistic attraction to film technology.
I was drawn to photography as an extension of film, and the beauty of film is that it's a sensuous, fetishistic medium.
My attraction had been immediate and profound. And it had nothing to do with the way he looked. My attraction was to what resided between his lines.
I think that, in the '60s, you had lots of things going on in the culture which tended to decrease attraction to marriage, attraction to religion, and which tended to increase attraction to crime.
It's amazing what a resource modern technology is now for making ballets, and I film my rehearsals almost every day.
Ever since I made the short film 'Black And White,' which had almost no dialogues, the idea of making a silent feature film fascinated me.
'Red Knot' is a film that I shot in Antarctica almost three years ago on a boat. It was a film that was improvised and it had very interesting circumstances while making the film, obviously. We were on a small boat bobbing around in Antarctica. It was a really remarkable experience.
I like actors who just become that person and then react, and Adam [Driver] is completely reactive in that way. So every day working with him was really a pleasure. And he's in almost every scene in the film, so the poor guy had to work the - almost the entire 30 days of our film shoot. But, yeah, he was really a pleasure, and I really love what he - how he embodied this character.
I love the new technology in terms of giving access to doing more independent work. When I first started out, any film had to rent from Panavision and the expenses were humongous. Now, given the advances in technology, you can put out extraordinary quality filmmaking at nothing like the price it used to be.
I'm a futurist. Technology is our way out of almost every problem we have. Technology can create a new sense of community.
Once you change the technology - from a film camera to a video camera, or from an 8-mm camera to 16 mm - you change completely the content. With 8 mm, a leaf on a tree will be made up of maybe four grains. So it's very impressionistic, almost like Seurat. If you switch to 16 mm, the technology gives you hundreds of grains on that leaf.
Technology today is the campfire around which we tell our stories. There's this attraction to light and to this kind of power, which is both warm and destructive. We're especially drawn to the power. Many of the images of technology are about making us more powerful, extending what we can do. Unfortunately, 95 percent of this is hype, because I think we're powerful without it.
'2001: A Space Odyssey' - I'd watched and hated it seven times before it provided the first 'religious experience' I'd ever had watching a film. Finally, I was able to pick up on what the film was transmitting almost entirely through dialogue.
It suddenly made sense. Only twice in his life had he felt this inexplicable, almost mystical attraction to a woman. He’d thought it remarkable, to have found two, when in his heart he’d always believed there was only one perfect woman out there for him. His heart had been right. There was only one.
A feeling I got from working at Google was that technology could solve any problem. Yes, it's fantastic, but what I realized later was there's technology, and there's people. Google had its list ordered: Technology. People. And I think the right order is: People. Technology.
As a camera actor, you're constantly in touch with technology. First the technology came into existence and then film acting happened. So it's always going to lead us.
I'm very troubled when editors oblige their film critics to read the novel before they see the film. Reading the book right before you see the film will almost certainly ruin the film for you.
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