A Quote by Peter Bradshaw
This is what we have all come to Cannes for: for something different, experimental, a tilting at windmills, a great big pole-vault over the barrier of normality by someone who feels that the possibilities of cinema have not been exhausted by conventional realist drama.
Related Quotes
I love musicals but it's very, very different. It's really just a different form than serious drama, and has very different rules and a completely different set of characters and requirements and ambitions. It maybe shouldn't be as separate as it is, but it's got a different history. In terms of serious drama, I think you'd have to say that you could break it down essentially into the narrative realist tradition and experimental theater.
Tilting at windmills hurts you more than the windmills.
I taught myself how to pole vault in one day. The next day I entered a meet to pole vault and won it all for the state of Alabama.
What I dislike is conventional realism - a system of gestures, descriptions, psychological revelations that was once a vital way of representing the world but has become hackneyed through endless repetition. I'd argue that a conventional realist isn't a realist at all, but a falsifier of the real.
Don't pole-vault over mouse turds.
In a moment, we hope to see the pole vault over the satellite.
I was beginning to understand something about normality. Normality wasn't normal. It couldn't be. If normality were normal, everybody could leave it alone. They could sit back and let normality manifest itself. But people-and especially doctors- had doubts about normality. They weren't sure normality was up the job. And so they felt inclined to give it a boost.
Don't "pole-vault over mouse truds" - by the time you've discussed the many options available to you, the problem itself could have been long behind you had you simply disposed of those rodent droppings with a simple tissue and dumped them into the garbage!
There are a lot of experimental novels that test the boundaries of what the novel is, and 'Conversations' is not one of those. It's conventional in its structure, even though its prose style and the themes it explores and the politics that underpin it, maybe, are on the experimental side. Its basic structure is pretty conventional.
For me, menswear is an experimental ground to play with something. There is scope to be gained there - you can create a new normality.
Playing big films on festivals is SO misguided. And I know where it comes from: it comes from the head of the festival thinking that he'll play with the big guys, like that's the way to do it and it's SO not the way to do it. It's where Cannes went wrong, it's where Toronto is going wrong. I mean, I got off the plane in Cannes this year and the streets were paved with posters from studio movies. Who cares about that? Why come to Cannes for that? You're going to be able to see all those films anyway - you're not going to be able to avoid them, so I don't get it. Obviously.
The success of 'Dhruva' has given me more satisfaction than any of my previous hits, simply because the audience accepted the film even though it was experimental. I really hope this kind of acceptance makes experimental cinema the new mainstream cinema.
To say that the vote fraud conspiracy theorists are tilting at windmills is an understatement. They're using a legitimate public process to pursue an agenda that is, at best, grasping at straws and, at worse, partisan.
When the film [Certified Copy] was in the Cannes Festival, I realized that the fact of having it shot in a different culture, in a different language, in a different setting, that wasn't mine and that I didn't belong to, gave me a totally different relationship to the film. When I was sitting in the audience during the official screening in Cannes, I didn't feel that it was my film.
When my films don't work it's usually because I tried some very experimental idea. I tried new ideas and they just didn't work, as opposed to trying to do something conventional and having it be so conventional nobody wanted to see it.
There are many people who could be Olympic champions. All-Americans who have never tried. I'd estimate more than 5 million people could have beaten me in the pole vault the years I won it... at least 5 million. Men that were stronger, bigger and faster than I was could have done it, but they never picked up a pole, never made the feeble effort to pick their legs off the ground trying to get over the bar.
Related Authors
Ayn Rand Quotes
Russian
Writer
C. S. Lewis Quotes
British
Writer
Francois de La Rochefoucauld Quotes
French
Writer
Gilbert K. Chesterton Quotes
English
Writer
H. L. Mencken Quotes
American
Writer
Haruki Murakami Quotes
Japanese
Writer
Kurt Vonnegut Quotes
American
Writer
Leo Tolstoy Quotes
Russian
Writer
Mark Twain Quotes
American
Writer
Mason Cooley Quotes
American
Writer
Ray Bradbury Quotes
American
Writer
Samuel Johnson Quotes
English
Writer
Seth Godin Quotes
American
Writer
Sherrilyn Kenyon Quotes
American
Writer
Suzanne Collins Quotes
American
Writer