A Quote by Romola Garai

I would argue that something dark is lurking between the sexes, and that it is seeping out into cinema. — © Romola Garai
I would argue that something dark is lurking between the sexes, and that it is seeping out into cinema.
What we heard loud and clear is that the Battle Between the Sexes is over. It was a draw. Now we're engaged in Negotiation Between the Sexes.
At a time when efforts are being made to eradicate discrimination between the sexes in the search for social equality and justice, the differences between the sexes are being rediscovered.
What would an ocean be without a monster lurking in the dark? It would be like sleep without dreams.
No practical biologist interested in sexual reproduction would be led to work out the detailed consequences experienced by organisms having three or more sexes; yet what else should he do if he wishes to understand why the sexes are, in fact, always two?
My mother, who hates thunderstorms, Holds up each summer day and shakes It out suspiciously, lest swarms Of grape-dark clouds are lurking there.
I would love to make a Brazilian film, but it would have to be something very close to my heart. It's such a personal thing, so I'd want to do my family proud. I'd want to do justice to Brazilian cinema. I think Brazilian cinema is brilliant. I would really love to do something, but I'm just waiting for the right thing.
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.
You see, Frank found out the hard way that the dark things lurking in the night don’t haunt old houses or abandoned ships. They haunt minds.
Landscape is more than flat land covered by floodwater, the seeping of peat bogs, a river of liquid pewter viewed from a sentry tower. It's an influence on what a person values, what she is willing to sacrifice or argue for.
Just as an octopus may have his den in some ocean cave, and come floating out a silent image of horror to attack a swimmer, so I picture such a spirit lurking in the dark of the house which he curses by his presence, and ready to float out upon all whom he can injure.
At times doc filmmaking feels more rewarding creatively. Because you are creating something out of pure cinema - instead of narrative cinema, where you've got a script and a cast and you build from your foundation, whereas in documentary, you're building out of chaos.
There's something about looking at Super 8 films that is so evocative. You could argue it's the resolution of the film somehow because they aren't crystal clear and perfect,so there is a kind of gauzy layer between you and what you see. You could argue it's the silence of them. You could say it's the sound of the projector that creates a moodiness. But there's something about looking at analog movies that's infinitely more powerful than digital.
I love to argue. I've always loved to argue. And I love to point out the weaknesses of the opposing arguments. It may well be that I'm something of a shin kicker. It may well be that I'm something of a contrarian.
My cinema - the '50s, '60s - is different from the cinema today so I thought that it would not be bad to show that kind of cinema where we could dream.
As a child, I felt that Hallowe'en was a time when creatures of the night suddenly came to life - we would turn off all the lights in the house and let flickering candlelight conjure up scary shadows and create the effect of imaginary figures lurking in dark corners.
The best thing about the battle between the sexes is often the sex between the battles.
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