I studied cinema at the university so I had a very classical approach to it. I studied all those silent films, and then the films from the 1940's, the Nouvelle Vague, the late Hollywood films. Now I realize, as a young actor, that it's one of my duties to actually be aware of what is today's industry and today's next big directors.
The silent film has a lot of meanings. The first part of the film is comic. It represents the burlesque feel of those silent films. But I think that the second part of the film is full of tenderness and emotion.
Silent films were, I think, more different than we know to sound films. We think of it as simply that we added dialogue and in actual fact I think it was an entirely different art form.
When I couldn't speak English, I loved silent films circa 1914-1929, Abel Gance being my favorite director.
When you are modelling, you are creating a picture, a still life, perhaps something like a silent film. You convey emotion but you are only using your body.
The military has a very long relationship with Hollywood that dates back to the silent film era.
With today's movies, if we took out all the bad language, we'd go back to silent films.
I wasn't that familiar with silent films. I didn't know, for example, how hugely popular silent films were in the 1920s, how people would go to the movies several times a week.
Ballet for a rainy day Silent film of melting miracle play Dancing out there through my window To the backdrop of a slow descending grey
I have a very 'theatre' face. I have what they call a wide mask. I probably would have been a big film star in the '20s with the silent films where they used a lot of key lighting, and make-up carved out your face.
I like some of the early silent films because I love to watch how actors had to play then. What would interest me today is to do a silent film.
Im obsessed with those old romance films. I also would love to venture into the silent film world. I think thats extremely compelling and interesting and really relies on the acting, even more so than when you have an actor speaking.
A film, since it is primarily a visual medium, should really be like a silent film. You should be able to watch something and understand what was going on and use voice when you need to communicate something you can't necessarily communicate visually. The book is the opposite. The book is an inner monologue which is beautiful.
I always found Louise Brooks interesting. She was an icon of the silent - film era, and I knew she'd grown up in Kansas, and that she was smart and rebellious and sharp - tongued.
I intend more of a kinship with silent films than more modern film. I like the old cinema. My films are more of a hybrid - a different style of filmmaking to what I call talking head movies. Some people don't get it. Especially the more academic types.
The silent film, it was cut at the age of thirty.
For me, each book is kind of like a silent film. If you were to remove the words and just look at the pictures, you should be able to tell what the story is about without having to read a word of text. That's what I think I brought from doing artwork for film to doing artwork for books.
Garrel has succeeded in filming something we have never seen before: the faces of actors in silent films during those moments when the black intertitles, with their paltry, illuminated words, filled the screen.
It was my mustache that landed jobs for me. In those silent-film days it was the mark of a villain. When I realized they had me pegged as a foreign nobleman type I began to live the part, too. I bought a pair of white spats, an ascot tie and a walking stick.
Now I’m the go-to-girl for silent films.
