People have to start talking to know more about other cultures and to understand each other.
Martin ScorseseRead
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.
Interpretation
This quote emphasizes the deep connection and passion that filmmakers have with the medium of cinema.
Martin Scorsese reflects on the intimate relationship filmmakers share with the craft of cinema, comparing it to a lover's knowledge of their partner. He urges us to appreciate and remember the origins of cinema, suggesting that this passionate connection is essential to its future.
In practice
In a film class, you might use this quote to highlight the importance of understanding cinema's origins.
People have to start talking to know more about other cultures and to understand each other.
Eradicating a religion of kindness is, I think, a terrible thing for the Chinese to attempt.
I think all the great studio filmmakers are dead or no longer working. I don't put myself, my friends, and other contemporary filmmakers in their category. I just see us doing some work.
I always say that I've been in a bad mood for maybe 35 years now. I try to lighten it up, but that's what comes out when you get me on camera.
Very often I've known people who wouldn't say a word to each other, but they'd go to see movies together and experience life that way.
Basically, you make another movie, and another, and hopefully you feel good about every picture you make. And you say, 'My name is on that. I did that. It's OK.' But don't get me wrong, I still get excited by it all. That, I hope, will never disappear.
The artistic life is a long, lovely suicide.
All art is contemporary, if it's alive, and if it's not alive, what's the point of it?
When I'm in Senegal, I can't just sit in isolation making music. People need my help. And the Senegalese people helped create my music. It comes from the country itself.
In a clown, we see what we do that makes us laugh and cry. I kept the white face, the tradition of the Pierrot. My clown became a romantic and stylized figure. I wanted to be an abstract and concrete figure, a symbol of humanity.
I had given up ( around 1950, fh) any ambition of making a career as an artistβ¦..I had lost all interest in the art shown in galleries and museums, and I no longer aspired to fit in that world. I loved the paintings done by children, and my only desire was to do the same for my own pleasure.
A good design is not a democratic consensus.
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