A Quote by Serge Daney
Garrel has succeeded in filming something we have never seen before: the faces of actors in silent films during those moments when the black intertitles, with their paltry, illuminated words, filled the screen.
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I want to put something on the screen that audiences have never seen black actors do before, roles that will widen views of who African-Americans are.
I think one of the reasons younger people don't like older films, films made say before the '60s, is that they've never seen them on a big screen, ever. If you don't see a film on a big screen, you haven't really seen it. You've seen a version of it, but you haven't seen it. That's my feeling, but I'm old-fashioned.
The words the happy say Are paltry melody But those the silent feel Are beautiful-.
Until 'Moonlight,' I had never seen one black man cook for another on screen. But I wanted the characters to be free of 'groundbreaking' or 'never before.' We were ascribed those things. They weren't the point.
I love those moments on stage, on screen and in life when you dispense with language, when you sort of transcend it in a way, and certainly the experience of falling in love, I think, defies words, which is why poets, painters, musicians, actors have tried to describe that feeling, writers have just tried to put words to that.
Ancient eyes had stared at me, filled with ancient grief. And something more. Something so alien and unexpected that I'd almost burst into tears. I'd seen many things in his eyes in the time that I'd known him: lust, amusement, sympathy, mockery, caution, fury. But I had never seen this. Hope. Jericho Barrons had hope, and I was the reason for it. I would never forget his smile. It had illuminated him from the inside out.
There's something really special, and addictive, about making that connection with an audience - knowing that they may never have seen you before, and may never see you again, but that for those moments you've been able to unite them all in laughter, and provide the escape that lies in that involuntary response.
Television is a big platform for actors, and so many actors have made it to films from there. And for me, too, it has been a great transition from the small screen to the big screen.
In my films, I hope there are a few moments where you feel almost illuminated, like in a state of ecstasy, stepping out of yourself, beyond yourself and perceiving something which is only, in the case of cinema, possible in collective dreams.
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.
Puce Women was my love affair with Hollywood... with all the great goddesses of the silent screen. They were to be filmed in their homes; I was, in effect, filming ghosts.
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.
The truth is silent. The truth doesn't come with words. It's something that I just know; it's something that I can feel without words, and it's called silent knowledge.
My interest as an artist is to illuminate the lives of black folks. I definitely am focused on films that illustrate all that we are and all our nuance and all our complicated beauty and mess, and when you're telling those stories, you gotta have black actors.
Much before I entered films, my dad walked into my room and saw me busy drawing something at 3 A.M. He stood there for some time and said, 'Whatever career choice you make, you are going to be successful.' I'll never forget those words. It gave me the confidence to be who I am today.
I don't want the people I'm with on this journey to feel like I'm filming them all the time. I don't want them to constantly feel as though they're being watched. So I will have the camera ready at all times, but I will only film when something is really worth filming. Those are the moments when the person being filmed is usually not aware of it.
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