But I'd be lying if I didn't say that every time you go to make a film, you're desperate to either do it better than you did it last time or to not repeat yourself.
Paul Thomas AndersonRead
I really subscribe to that old adage that you should never let the audience get ahead of you for a second. So if the film's abrasive and wrongfoots people then, y'know, that's great. But I hope it involves an audience.
Interpretation
The quote emphasizes the importance of engaging the audience without allowing them to anticipate or outpace the narrative.
Paul Thomas Anderson discusses the balance between challenging the audience and keeping them engaged in a film. He expresses the belief that films should unfold in a way that surprises viewers, yet still involves them emotionally and intellectually. The quote highlights the delicate art of storytelling, where the audience's reactions are considered an essential part of the creative process.
In practice
A filmmaker might use this quote during a panel discussion on the importance of audience reaction.
But I'd be lying if I didn't say that every time you go to make a film, you're desperate to either do it better than you did it last time or to not repeat yourself.
No matter how many times you do it, you don't get used to the sadness - for me at least - of coming to the end of a film.
My filmmaking education consisted of finding out what filmmakers I liked were watching, then seeing those films. I learned the technical stuff from books and magazines, and with the new technology you can watch entire movies accompanied by audio commentary from the director. You can learn more from John Sturges' audio track on the 'Bad Day at Black Rock' laserdisc than you can in 20 years of film school. Film school is a complete con, because the information is there if you want it.
I always had a dream about trying to make a movie that had no dialogue in it, that was just music and pictures. I still haven't done it yet, but I tried to get close in the beginning.
It's a gamble you take, the risk of alienating an audience. But there's a theory - sometimes it's better to confuse them for five minutes than let them get ahead of you for 10 seconds.
We’re all children of Kubrick, aren’t we? Is there anything you can do that he hasn’t done?
I think I would really lay down and die. Music comes from a very primal, twisted place. When a person sings, their body, their mouth, their eyes, their words, their voice says all these unspeakable things that you really can't explain but that mean something anyway. People are completely transformed when they sing; people look like that when they sing or when they make love. But it's a weird thing—at the end of the night I feel strange, because I feel I've told everybody all my secrets.
Music is the brandy of the damned.
All creative art is magic, is evocation of the unseen in forms persuasive, enlightening, familiar and surprising.
Art is uncompromising, and life is full of compromises.
The arts make vivid the fact that words do not, in their literal form or number, exhaust what we can know. The limits of our language do not define the limits of our cognition.
Then about 12 years ago it dawned on me that folk music - the music of Woody Guthrie and Phil Ochs, early Bob Dylan, Johnny Cash, Pete Seeger - could be as heavy as anything that comes through a Marshall stack. The combination of three chords and the right lyrical couplet can be as heavy as anything in the Metallica catalogue.
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