A Quote by Todd Haynes
I'm a lover of cinema, and I don't want that to completely expire.
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It is significant that one says book lover and music lover and art lover but not record lover or CD lover or, conversely, text lover.
A lover in life will be a lover in death, a lover in the tomb, a lover in paradise, a lover on the day of resurrection.
An idealistic lover is a blind lover, and therefore a true lover; a pragmatic lover is a sighted lover, and therefore a false lover.
The cinema began with a passionate, physical relationship between celluloid and the artists and craftsmen and technicians who handled it, manipulated it, and came to know it the way a lover comes to know every inch of the body of the beloved. No matter where the cinema goes, we cannot afford to lose sight of its beginnings.
There seems to be something poetically that doesn't work or is limiting when you call God 'God' in a poem. When I tried to be honest with myself in my relationship with God, Christ is, on the one hand, completely dark, he's transcendent and unknown. On the other hand, he is completely imminent and completely knowable as Jesus. Our tradition speaks of him in both ways as transcendent but also as a lover who comes to us, and the two word 'Dark One' seem to me to contain both things, the transcendence and otherness of Christ, but also like a kind of dark lover who comes to us.
Intellectual knowledge exists in and of the brain. Because the brain is part of the body, which must one day expire, this collection of facts, however large and impressive, will expire as well. {But spiritual insight transcends death.}
I don't want to do films for money and go back. I want to try to at least change the world through cinema, the industry, the way cinema is conceived.
I am extremely proud that our cinema is being recognised in the West. I want Indian cinema to get its dignity, not by giving them the kind of films they expect from us, but by making cinema in a way that carries the legacy of the mainstream masters forward.
What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. I was in Italy, but completely in love with the nouvelle vague movement, and directors like Godard, Truffaut, Demy. 'The Dreamers' was a total homage to cinema and that love for it.
Sometimes I think marriage licenses should be like driver's licenses. They expire after a number of years, and in order to keep going you have to renew. Wouldn't that be kind of genius? It would force you both to look at the relationship, and if it's not working, the marriage would expire so you could go on your merry way, or on the positive side of it, you could look at each other and say we really want to renew. What a way to keep it fresh!!
The structure of my novels has nothing to do with the narrative mode of cinema. My novels would be very difficult to film without ruining them completely. I think this is the area where writers need to place ourselves: from a position of absolute modernity and contemporaneity, creating a culture of objects which cinema cannot.
Any cinema has to be entertaining. Boring cinema won't work. If you want to make one, then screen it for free on TV.
I believe we have two ideas about how movies are made in our heads. Idealizations. Platonic ideals. One of them is of a movie that is completely uncontrolled, and another is a movie that is completely controlled. The auteur theory vs. cinéma vérité.
It's cool for me because I'm a director, but I'm also a teacher. I'm a lover of cinema, and I love working with people who are hungry and have the energy to really do better work.
Germany's historical responsibility will not expire. We want to live up to it - and you should judge us on it.
Cinema is not about format, and it's not about venue. Cinema is an approach. Cinema is a state of mind on the part of the filmmaker. I've seen commercials that have cinema in them, and I've seen Oscar-winning movies that don't. I'm fine with this.
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