A Quote by Pedro Almodovar
The silent film has a lot of meanings. The first part of the film is comic. It represents the burlesque feel of those silent films. But I think that the second part of the film is full of tenderness and emotion.
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When I switched to screenplays - 'cause I had done musicals and plays - the first assignment in film school was, you have to write a silent film. And it's tremendously helpful to learn how to do that because dialogue can be a crutch. If you can master a silent film, you're golden.
When I was twelve, the passage from silent film to the talkies had an impact on me-I still watch silent films. I don't think that there is any such thing as an old film; you don't say, 'I read an old book by Flaubert,' or 'I saw an old play by Moliere.'
The core plot of 'Mercury' is so gripping that when I thought of making it as a silent film, it only made it more interesting. Once I finished writing the first draft, making a silent film that's both thrilling and engaging seemed possible. When the film team read the final script, they felt the same.
I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.
When I'm writing film music, I feel like I'm more a filmmaker than a composer. It's more about what the film needs. I'm basically part of the team that's creating a film, and the music is a very important part, but it's just one part of many.
I never thought of becoming a director. When I was twelve, the passage from silent film to the talkies had an impact on me - I still watch silent films.
When my film went to the Venice Film Festival and won the best script writing, the jury [prize], it didn't go to my head. I know how many black filmmakers that I am operating with whose name will never be mentioned. But I'm part of them in that silent existence.
I went from silent films to watching French new wave cinema. I became entrapped by it all. That's when I knew I wanted to do film. The moment you start looking at film from a critique point of view - there's a difference between watching a film as an audience and with a critical point of view.
All in all, I'd like to venture into film. Films are my staple diet, so I would love to be part of a feature film, independent film... it all just depends on the story and the people behind it, really.
I like some of the early silent films because I love to watch how actors had to play then. What would interest me today is to do a silent film.
I think films are about having a good time, so I don't know that there's a message. The message of a film is always what a critic writes, and the fun of a film or the emotion of a film is what the audience feels.
In 1993, my first documentary was about the civil war in Algeria. That was in French and in Arabic. Another short film I did was silent. What I'm trying to say is that, yes, I'm Italian, and yes, I make films with Italian money, but personally, I've always been invested in the broader world of film-making.
Perhaps I shall not write my account of the Paleolithic at all, but make a film of it. A silent film at that, in which I shall show you first the great slumbering rocks of the Cambrian period, and move from those to the mountains of Wales...from Ordovician to Devonian, on the lush glowing Cotswolds, on to the white cliffs of Dover... An impressionistic, dreaming film, in which the folded rocks arise and flower and grow and become Salisbury Cathedral and York Minster.
If you are going to call a film a 'black film' then you have to make a film that represents everyone that's black, which is almost impossible. That is why white films are not called white films, they are just called 'films.'
While I was writing the book, I went to see Louise Brooks's most famous film, Pandora's Box, at the Tivoli in Kansas City, and it was a lovely experience. You can watch old silent films on DVD or even on YouTube, but it was a different feeling watching her up on the big screen, seeing the film the way people saw it all those years ago.
Every part of it is important; the film comes alive when you edit it, the film comes alive when you write it, the film comes alive when you act it, and the same with the directing. They're all the most important part at the time and that's why I enjoy doing it, because you're creating a story and every part is a very integral part of it.
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