A Quote by Robert Eggers
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.
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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.
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.
My production company wasn't doing well, so we were not producing films. Over a period of time, we have realized that we are going to produce our own films and make cinema that we like. We've got so much in-house talent, and my kids are going to be coming, so we all decided that we are going to be in films and cinema.
The third line of cinema today is neither art nor commercial but categorized as good and bad cinema. I think two films - 'Main, Meri patni aur Who' and 'Main Madhuri Dixit Banna Chahti Hoon' were the base films for this new line of cinema.
My father is a silent cinema freak, so he took me to 1925 silent films that took forever, like 5-hour movies, but I've seen a lot of that stuff since I was young. And then I saw the film 'Annie,' and I just wanted to be Annie; I just wanted to be that orphan kid and wanted to sing and dance.
On the whole, Flora liked it better when they were silent, though it did rather give her the feeling that she was acting in one of the less cheerful German highbrow films.
Well, I think by and large, certainly in terms of cinema, American culture dominates our cinema, mainly in the films that are shown in the multiplexes but also in the way that it has a magnetic effect on British 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 intend more of a kinship with silent films than more modern film. I like the old cinema. My films are more of a hybrid - a different style of filmmaking to what I call talking head movies. Some people don't get it. Especially the more academic types.
I love silent cinema but don't hold it sacred. Like any branch of film there are some very boring films alongside the masterpieces.
Basically, I have always wanted to have an art-house cinema. A cinema where we can show films that are not necessarily the current offerings on circuit and films that are not commercial.
I'm a big fan of British cinema; I think we make some unbelievably brilliant films, but they can quite often have a dark feel.
I grew up in England, and at the time, cinema was very heavy arthouse cinema, and there was no one making movies that were designed to be in multiplexes.
Some theatres back home used to screen arthouse films by Adoor and Shyam Benegal, and week-long festivals of films from France, Germany and the U.S.S.R. That was when I realised there was a world where people did not run around trees singing duets. That it was possible to make a different kind of cinema.
Actually I don't watch a lot of films but when I do, I like experimental, avant garde, European and world cinema. That is the language of cinema I am drawn towards. I don't watch much Hollywood or Bollywood.
The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn't.
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