A Quote by Akira Kurosawa
I like silent pictures and I always have ... I wanted to restore some of this beauty. I thought of it, I remember in this way: one of techniques of modern art is simplification, and that I must therefore simplify this film.
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I always wanted to make this film or another film. I thought the worst thing you could do was to react to Slumdog's success in some way. I thought it would be really foolish.
That is why my pictures don't look like modern art. It's some sort of timidity on my part I'm sure.
Art itself is essentially ethical; because every true work of art must have a beauty or grandeur of some kind, and beauty and grandeur cannot be comprehended by the beholder except through the moral sentiment. The eye is only a witness; it is not a judge. The mind judges what the eye reports to it; therefore, whatever elevates the moral sentiment to the contemplation of beauty and grandeur is in itself ethical.
Your first film is always your best film, in a way. There's something about your first film that you never ever get back to, but you should always try. It's that slight sense of not knowing what you're doing, because the technical skills you learn - especially if you have a film that works, that has some kind of success - are beguiling. The temptation is to use them again, and they're not necessarily good storytelling techniques.
Thoughts can create such a barrier that even if you are standing before a beautiful flower, you will not be able to see it. Your eyes are covered with layers of thought. To experience the beauty of the flower you have to be in a state of meditation, not in a state of mentation. You have to be silent, utterly silent, not even a flicker of thought - and the beauty explodes, reaches to you from all directions. You are drowned in the beauty of a sunrise, of a starry night, of beautiful trees.
I remember saying to myself those things are very, very important to hear, but there must be another way to say them so that they will truly be heard. I mean, that's what art is. Art is about being provocative. Art is also about beauty. And if you leave the latter out, the former doesn't matter.
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.
Calls for the simplification of abstract or allusive art have always come from governments suspicious of artists themselves. This is why totalitarian regimes have always legislated some form of realism.
With this silent film, I wanted to hide what was going on in the clinic. I wanted to cover it up in the best cinematic way and in an entertaining manner.
I know street art can feel increasingly like the marketing wing of an art career, so I wanted to make some art without the price tag attached. There's no gallery show or book or film. It's pointless. Which hopefully means something.
The core plot of 'Mercury' is so gripping that when I thought of making it as a silent film, it only made it more interesting. Once I finished writing the first draft, making a silent film that's both thrilling and engaging seemed possible. When the film team read the final script, they felt the same.
I never thought of what I was doing as a way to sell the NFL. I was making movies about a sport that I loved, about players and coaches that I respected. I wanted to convey my love of the game through film. And most artists convey their love through art. And my art and my love was expressed through film.
I've always had an interest in story-telling and history and just film and art in general, but particularly when it comes to storytelling, I think the reason why we became involved in film is because we wanted to get some great stories out there.
Our life is frittered away by detail Simplify, simplify.” Or, as Plato wrote, “In order to seek one’s own direction, one must simplify the mechanics of ordinary, everyday life.
With manga, in my art style, I don't do much in the way of techniques to create depth. But even though I don't do depth techniques through my art, I am conscious of depth itself.
We were that generation called silent, but we were silent neither, as some thought, because we shared the period's official optimism nor, as others thought, because we feared its official repression. We were silent because the exhilaration of social action seemed to many of us just one more way of escaping the personal, of masking for a while that dread of the meaningless which was man's fate.
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