Lars Von Trier Quotes

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Quotes By author - Starting with L - Lars Von Trier

There are 88 quotes for the author Lars Von Trier

Quotations 21 to 40 of 88 Results Page: 1 2 3 4 5

We had to turn up the colors in the dance sequences to make people feel that there were different levels of the film. I was not so fond of that, because it made the dancing more glamorous in a superficial way than what I really wanted, but it was necessary for the understanding of the two levels.

A moviecam... is an extremely heavy camera.

Regarding the rule about colour, that one was for me, because I have always felt it difficult to accept the way a colour film looks. I have always spent a lot of energy changing it one way or other, so I could bear looking at it, and therefore it was a wonderful rule for me.

It's... a matter of making the actors responsible for their characters, so if they felt that their character would read a Donald Duck magazine, they would bring one themselves.

I had an almost fetishistic attraction to film technology.

In the forest scene we had put a mike up a tree to capture the ambient sound... it is like reinventing movie-making, don't you see?

If you are using a 35 mm camera, it typically means shoulder mounted-and we actually constructed a shoulder mount for the small video-cameras. So you can discuss where the limit is with all the various ways you can attach a camera to a cameraman.

Our position must be that the perfect Dogme-film has not been made and probably never will be. The Manifest and The Vow of Chastity are the holy rules, and this is my interpretation of the text, so to speak. I am not saying it is worth more than other people's thoughts.

You cannot bring in props-if you are filming in a house, you use the furniture and props that are present in that house. If our fiction necessitates the use of a certain prop, we have to film where the prop can be found instead of moving the prop to where we would like to be.

In many ways I also have an understanding for-or rather, that people are engaged by spiritual questions and that they are so in an extreme manner. It is just that, if you want to create a melodrama, you have to furnish it with certain obstacles.

Before, I worked with a storyboard, and that meant that the image wasn't good. There was a lot of things that you had to live up to.

It should all come from the main character's idea that life is beautiful anywhere. It doesn't have to be light with spotlights and blue lights and slow motion or whatever, life is great anyway.

That's the great thing about entering a convent: There are things that you simply can't do, so you don't have to worry about them.

Reproduction is a little stupid. You have to put a little something in. It's like in the church you pay a little money to the tithe.

Actors need bricks to play with, and in fact we rejected all the improvised fragments we had made without a plan. Improvisation without a plan is like tennis without tennis balls.

We had shot very long scenes, and no scene was like the other. The actors were allowed to move within the scene as they pleased, and they never needed to follow any determined action.

I have reworked the script a lot through the years, being somewhat Dreyer-like in cutting it down, confining and reducing. Then just before shooting began, I lost enthusiasm for it. So many years had passed getting the project realised, and I was tired of it, close to leaving it.

The rule means-as I interpret it-that you are allowed to do nothing with the sound and picture after shooting: sound and picture hang together, and neither may be changed or moved afterwards.

In a normal film production, you are hampered by having to make decision about and control an infinite number of things such as filters and colours. The Dogma rules basically say that you mustn't do any of that.

If one devalues rationality, the world tends to fall apart.

Quotations 21 to 40 of 88
Results Page: 1 2 3 4 5

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