Talking about dreams is like talking about movies, since the cinema uses the language of dreams; years can pass in a second, and you can hop from one place to another. It's a language made of image. And in the real cinema, every object and every light means something, as in a dream.
Interpretation
Dreams and cinema both convey complex ideas and emotions through imagery.
Federico Fellini compares dreams to cinema, highlighting how both mediums can manipulate time and space through vivid visuals. He suggests that just as dreams can convey meaning through imagery and symbolism, so too can films, inviting viewers to interpret deeper underlying themes and emotions present in the visual narrative.
In practice
Using this quote in a film studies class to discuss the symbolism in cinema.
I’m just a storyteller, and the cinema happens to be my medium. I like it because it recreates life in movement, enlarges it, enhances it, distills it. For me, it’s far closer to the miraculous creation of life than, say, a painting or music or even literature. It’s not just an art form; it’s actually a new form of life, with its own rhythms, cadences, perspectives and transparencies. It’s my way of telling a story.
No critic writing about a film could say more than the film itself, although they do their best to make us think the oppposite.
A created thing is never invented and it is never true: it is always and ever itself.
What's important is the way we say it. Art is all about craftsmanship. Others can interpret craftsmanship as style if they wish. Style is what unites memory or recollection, ideology, sentiment, nostalgia, presentiment, to the way we express all that. It's not what we say but how we say it that matters.
We can all pretend to be cynical and scheming, but when we’re faced with purity and innocence, the cynical mask drops off.
What is an artist? A provincial who finds himself somewhere between a physical reality and a metaphysical one... It’s this in-between that I’m calling a province, this frontier country between the tangible world and the intangible one - which is really the realm of the artist.
The whole excitement for writing anything is quite intense. And for a day or two, you think you've done everything extremely well. The problems start on the third day, and continues for the rest of your life.
I probably get a deeper satisfaction of having taken a very good photograph than of having written something very good, a very good story. Maybe it's because the element of magic is so present in a good photograph - luck and magic, but also hard work and being ready and all that.
The only music I don't like is bad music.
Good design is a lot like clear thinking made visual.
Because every book of art, be it a poem or a cupola, is understandably a self-portrait of its author, we won't strain ourselves too hard trying to distinguish between the author's persona and the poem's lyrical hero. As a rule, such distinctions are quite meaningless, if only because a lyrical hero is invariably an author's self-projection.
OPERA, n. A play representing life in another world, whose inhabitants have no speech but song, no motions but gestures and no postures but attitudes.
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