A Quote by Penelope Ann Miller

Now I’m the go-to-girl for silent films. — © Penelope Ann Miller
Now I’m the go-to-girl for silent films.
Now I'm the go-to-girl for silent films.
I wasn't that familiar with silent films. I didn't know, for example, how hugely popular silent films were in the 1920s, how people would go to the movies several times a week.
I'm a big fan of silent cinema and I think that before I got into the canon of European arthouse cinema, the first interesting films I liked as a kid were German expressionist silent films.
I was a real mess at school. I got a bit of a reputation for being the weird girl: the girl who'd go silent randomly and just kind of write down replies to people's questions in a book.
I studied cinema at the university so I had a very classical approach to it. I studied all those silent films, and then the films from the 1940's, the Nouvelle Vague, the late Hollywood films. Now I realize, as a young actor, that it's one of my duties to actually be aware of what is today's industry and today's next big directors.
Do you know anything about silent films?" "Sure," I said. "The first ones were developed in the late nineteenth century and sometimes had live musical accompaniment, though it wasn't until the 1920s that sound became truly incorporated into films, eventually making silent ones obsolete in cinema.
With today's movies, if we took out all the bad language, we'd go back to silent films.
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.
He had handed his daughter to Caroline Gill and that act had led him here, years later, to this girl in motion of her own, this girl who had decided yes, a brief moment of release in the back of a car, in the room of a silent house, this girl who had stood up later, adjusting her clothes, with now knowledge of how that moment was already shaping her life.
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.
When you're talking horror or sci-fi, you're working in a genre that has loosely certain thematic elements, or, you could even call them rules. But rules are there to be broken. I think that young filmmakers should go all the way back to the history of horror, from silent films like "Nosferatu", and through to today's horror films, so they understand the history of horror films and what has been done. Understand that, and then add something new or original.
We're silent now, both waiting, till I remind myself that I'm the older one and should therefore initiate conversation. But I don't. I don't want to waste this girl with idle chitchat. She's beautiful.
I've always been down to try out new things, but I was more of a jeans girl at age 17. I didn't want to show my legs. Now, I'm a dress-shirt girl, a shorts girl, a jeans girl, an overalls girl - I'll wear anything!
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.
Right now I'm the most famous silent movie actress in the world and I want to keep that for me. So I hope there's not going to be any other silent movies.
My father, who was a good deal older than my mother, had basically grown up with silent films; sound didn't arrive until he was 30 years old. So he took me to see silent pictures at MoMA when I was 5 or 6 years old.
This site uses cookies to ensure you get the best experience. More info...
Got it!