A Quote by Agnes Varda
At that time, when I started, in the '50s, cinema was very classical in its aims.
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I think '50s was the golden period. I am a fan of '50s cinema. I wish I was born at that time.
I think what I loved in cinema - and what I mean by cinema is not just films, but proper, classical cinema - are the extraordinary moments that can occur on screen. At the same time, I do feel that cinema and theater feed each other. I feel like you can do close-up on stage and you can do something very bold and highly characterized - and, dare I say, theatrical - on camera. I think the cameras and the viewpoints shift depending on the intensity and integrity of your intention and focus on that.
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.
I think Hollywood has gone in a disastrous path. It's terrible. The years of cinema that were great were the '30s, '40s, not so much the '50s...but then the foreign films took over and it was a great age of cinema as American directors were influenced by them and that fueled the '50s and '60s and '70s.
With 'The Conjuring,' I really wanted to create classical cinema-style film-making, pure cinema as it were.
My sense of cinema improved slowly as I started watching South cinema, got to know that cinema is much appreciated here.
Since 'Shamshera' is set in a particular time, the dance sequences require me to have a very Indian, very classical body language, which is why I started taking kathak classes to learn the nuances and the grace.
Music was the only voice of cinema for a very long time before we had sound; it's organically linked to cinema itself.
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.
A film in which the speech and sound effects are perfectly synchronized and coincide with their visual image on the screen is absolutely contrary to the aims of cinema. It is a degenerate and misguided attempt to destroy the real use of the film and cannot be accepted as coming within the true boundaries of the cinema.
I got into one of the Scottish classical styles called piobaireachd, which is a very old music that started around the 1700s or something. I really got into this music. After that, I started to compose bagpipe music in my notations. Then I started building bagpipes by myself, and then I started to perform with the instrument myself in the 1980s.
French cinema has always been very interesting, and it's still very powerful. I think it goes to show that it's great to still have a cinema that doesn't try to emulate, for example, American cinema.
I was seduced by the nouvelle vague, because it was really reinventing everything. And the Italian cinema that one would see in the theaters in the late '50s, early '60s was Italian comedy, Italian style, which, to me, was like the end of neo-realism. I think cinema all over the world was influenced by it, which was Italy finding its freedom at the end of fascism, the end of the Nazi invasion. It was a kind of incredible energy. Then, late '50s, early '60s, the neo-realism lost its great energy and became comedy.
Personally, I think young musicians need to learn to play more than one style. Jazz can only enhance the classical side, and classical can only enhance the jazz. I started out playing classical, because you have to have that as a foundation.
Actually, I've had very little classical training, although I love listening to classical music very much.
My background in music is classical - I did graduate school in music. At that time, I was studying composition, but I was studying classical guitar very seriously.
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