A Quote by Nicolas Winding Refn
The problem with cinema nowadays is that it's a math problem. People can read a film mathematically; they know when this comes or that comes; in about 30 minutes, it's going to be over and have an ending. So film has become a mathematical solution. And that is boring, because art is not mathematical.
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In India, there is a psychological problem that movies going to film festivals are boring. It is a problem with exhibitors.
I have no issues if audiences don't like a film or a performance, and the film doesn't do well. My problem is when they say that the film was good and performances were excellent, but the film didn't run. I have a problem when that happens.
An old French mathematician said: "A mathematical theory is not to be considered complete until you have made it so clear that you can explain it to the first man whom you meet on the street." This clearness and ease of comprehension, here insisted on for a mathematical theory, I should still more demand for a mathematical problem if it is to be perfect; for what is clear and easily comprehended attracts, the complicated repels us.
Physics is mathematical not because we know so much about the physical world, but because we know so little; it is only its mathematical properties that we can discover.
You become a film critic because you're interested in film. I don't know whether knowing so much about cinema leads you to make better films, but it certainly can't hurt.
The classes of problems which are respectively known and not
known to have good algorithms are of great theoretical interest. [...]
I conjecture that there is no good algorithm for the traveling
salesman problem. My reasons are the same as for any mathematical
conjecture: (1) It is a legitimate mathematical possibility, and
(2) I do not know.
The formulation of the problem is often more essential than its solution, which may be merely a matter of mathematical or experimental skill.
To me, a revolutionary film is not a film about a revolution. It has a lot more to do with the art form. It's a film that is revolting against the old established language of cinema that had been brainwashing the people for decades. It is a film that is trying to find ways to use sound and image differently.
The definition of a good mathematical problem is the mathematics it generates rather than the problem itself.
I was a young film student around the time of the new wave in film in the 1970s; old Hollywood was naff and over. For me, as a film student, I was going to see French and Italian cinema; American cinema was 'Easy Rider' and 'Taxi Driver.' Everything was gritty.
If the system exhibits a structure which can be represented by a mathematical equivalent, called a mathematical model, and if the objective can be also so quantified, then some computational method may be evolved for choosing the best schedule of actions among alternatives. Such use of mathematical models is termed mathematical programming.
The solution to a problem - a story that you are unable to finish - is the problem. It isn't as if the problem is one thing and the solution something else. The problem, properly understood = the solution. Instead of trying to hide or efface what limits the story, capitalize on that very limitation. State it, rail against it.
The problem with film is you never know when you're going to be able to make a film so you can't have people waiting around for you. Sometimes it's fun to work with the same people and work with new people and mix it up.
The basic DNA we've got to implant in leaders now is adaptability: not to get wedded to the solution to a particular problem, because not only the problem but the solution changes day to day. Creating people who are hardwired for that is going to be our challenge for the future.
Thus you see, most noble Sir, how this type of solution to the Königsberg bridge problem bears little relationship to mathematics, and I do not understand why you expect a mathematician to produce it, rather than anyone else, for the solution is based on reason alone, and its discovery does not depend on any mathematical principle.
No matter how clear things might become in the forest of story, there was never a clear-cut solution, as there was in math. The role of a story was, in the broadest terms, to transpose a problem into another form. Depending on the nature and the direction of the problem, a solution might be suggested in the narrative. Tengo would return to the real world with that solution in hand. It was like a piece of paper bearing the indecipherable text of a magic spell. It served no immediate practical purpose, but it contained a possibility.
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