Orson Welles Quotes About Film
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A film is never really good unless the camera is an eye in the head of a poet.
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If I had only one film in the world to save, it would be 'Grand Illusion.'
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Every actor in his heart believes everything bad that's printed about him.
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You're beautful. Yes you are, you're very very beautiful. Extremely beautiful.
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Hollywood expects you to experiment but on a film that makes money and if you don't make money, you're to blame. Your job is to make money.
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A movie in production is the greatest train set a boy could ever have.
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I dont believe in learning from other peoples pictures. I think you should learn from your own interior vision of things and discover, as I say, Innocently, as though there had never been anybody.
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If everyone worked with wide-angle lenses, I'd shoot all my films in 75mm, because I believe very strongly in the possibilities of the 75mm.
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. . . you [film critics] always overstress the value of images. You judge films in the first place by their visual impact instead of looking for content. This is a great disservice to the cinema. It is like judging a novel only by the quality of its prose. I was guilty of the same sin when I first started writing for the cinema. . . . Now I feel that only the literary mind can help the movies out of that cul de sac into which they have been driven by mere technicians and artificers.
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I can think of nothing that an audience won't understand. The only problem is to interest them; once they are interested, they understand anything in the world.
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The first thing one must remember about film is that it is a young medium. And it is essential for every responsible artist to cultivate the ground that has been left fallow.
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The director is simply the audience. So the terrible burden of the director is to take the place of that yawning vacuum, to be the audience and to select from what happens during the day which movement shall be a disaster and which a gala night. His job is to preside over accidents.
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I rather think the cinema will die. Look at the energy being exerted to revive it - yesterday it was color, today three dimensions. I don't give it forty years more. Witness the decline of conversation. Only the Irish have remained incomparable conversationalists, maybe because technical progress has passed them by.
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Film is like a colony and there are very few colonists.
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In attempting to explain F For Fake's state-side failure, it has occurred to me that perhaps the subject matter was at least partially to blame, and that this country is so blissfully enslaved by the notion of the special sanctity of the expert that an overtly anti-expert film was bound to go too much against the national grain.
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