You've got to keep fighting; you've got to risk your life every six months to stay alive.
Elia KazanRead
I'm going to make a film where not one word is really important. I'm going to make it all action.
Interpretation
This quote emphasizes the significance of visual storytelling over verbal communication in film.
Elia Kazan suggests that a film can convey profound messages and emotions through action rather than dialogue. By prioritizing visuals and actions, the film can create a more immersive experience, allowing the audience to interpret the story in their own way without relying heavily on words.
In practice
In a film studies class, this quote could underscore the importance of action in cinema when discussing a silent film.
You've got to keep fighting; you've got to risk your life every six months to stay alive.
Acting... was the biggest charge I ever had. What other artist has it so good? Approval so quick?
I've come to believe that everything worth achieving is beyond one's capacity - or seems so at first. The thing is to persist, not back off, fight your fight, pay your dues, and carry on. Effort is all; continue and you may get there despite everything.
A good director's not sure when he gets on the set what he's going to do.
To be a member of the Communist Party is to have a taste of the police state. It is a diluted taste but it is bitter and unforgettable.
I've lost many of my best friends... I'm going to satisfy myself now, not the critics, not even my friends.
When the color achieves richness, the form attains its fullness also.
To destroy is always the first step in any creation.
I've always wanted to create drama in my pictures, which is why I paint people. It's people who have brought drama to pictures from the beginning. The simplest human gestures tell stories.
Music is forever; music should grow and mature with you, following you right on up until you die.
I find that kid actors are great reminders of the simplicity of acting. As you get older, you can sometimes complicate things a little more. You can become too aware of, 'Okay, this is the scene emotionally. This is where we need to be. We've got the climax coming up.' You can start to analyze it too much.
I was glamorous because of magicians like George Folsey, James Wong Howe, Oliver Marsh, Ray June, and all those other great cinematographers. I trusted those men and the other experts who made us beautiful. The rest of it I didn't give a damn about. I didn't fuss about my clothes, my lighting, or anything else, but, believe me, some of them did.
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