A Quote by Laura Moriarty
I wasn't that familiar with silent films. I didn't know, for example, how hugely popular silent films were in the 1920s, how people would go to the movies several times a week.
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Do you know anything about silent films?" "Sure," I said. "The first ones were developed in the late nineteenth century and sometimes had live musical accompaniment, though it wasn't until the 1920s that sound became truly incorporated into films, eventually making silent ones obsolete in cinema.
Richard Donner made great movies. Seminal movies. The Academy, though, and we have to be careful here, should recognize popular films. Popular films are what make it all work. There was a time when popular movies were commercial movies, and they were good movies, and they had to be good movies. There was no segregation between good independent films and popular movies.
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.
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.
I am astounded at my age with a 20-year-old daughter to discover that kids of her generation don't want to watch black and white movies. I understand that they gave up on silent films, but black and white? So, now movies have to be taught in academia because people don't know how to watch them, they don't know how to appreciate them.
With today's movies, if we took out all the bad language, we'd go back to silent films.
I intend more of a kinship with silent films than more modern film. I like the old cinema. My films are more of a hybrid - a different style of filmmaking to what I call talking head movies. Some people don't get it. Especially the more academic types.
Good female parts are hard to come by, so I go all over the place to find them: cable TV, network movies of the week, foreign films, independent American films, studio films, the stage.
I always try to make popular films. Even in black-and-white and silent.
Silent films were, I think, more different than we know to sound films. We think of it as simply that we added dialogue and in actual fact I think it was an entirely different art form.
I never thought of becoming a director. When I was twelve, the passage from silent film to the talkies had an impact on me - I still watch silent films.
There is a heavy Mexican Catholic streak in my movies, and a huge Mexican sense of melodrama. Everything is overwrought, and there's a sense of acceptance of the fantastic in my films, which is innately Mexican. So when people ask, 'How can you define the Mexican-ness of your films?' I go, 'How can I not?' It's all I am.
I always loved silent movies. I was not a specialist, but I loved them. And when I started directing, I became really fascinated by the format - how it works, the device of the silent movie.
I'm a Hollywood kid, and I know that there are only so many stories. Only so many tales around the campfire that we have to tell. Then we have to regurgitate them. Our grandparents' movies were all remakes of silent films - we forget that, but it's true.
He knows not how to speak who cannot be silent; still less how to act with vigour and decision. - Who hastens to the end is silent: loudness is impotence.
I don't know what to expect out of my films. My first two films were with extremely talented directors, and they didn't work. And my next two films were with newcomers, and they worked well. So I've stopped expecting anything from my movies.
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