Afterschool plays like a film student’s demo reel of the various ways to signify “alienation”—shallow depth of field, over-lit sterile interiors, ambient sounds of fluorescent light hums, expressionless actors, methodical tracking shots frequently overrunning or catching up to their human subjects....you’d think Afterschool’s 24-year-old first-time feature director Antonio Campos had just discovered them for himself by the way he embarrassingly assaults the viewers with them in order to fashion his astonishingly shallow portrait of teenage disaffection.
-Reverse Shot

This movie is the most delicate movie. I can’t imagine having a more delicate movie. It just did not work until everything worked. It was just pieces until everything was perfect, every single thing. You got the pace right, you got the music right, the sound effects. It just wouldn’t work. I literally thought we were in trouble. It went from like no movie to heaven in like ‘boom’ like that, because it was just so delicate. It wouldn’t let me do anything to it that it didn’t want.
-m night shyamalan on the village

It’s not important to me if the film is predictable or unpredictable. In fact, I almost prefer the film to be inevitable. That the unfolding of events in the film proves itself to be something that you could have predicted could happen. I think that this view of cinema enables you to get out of the way of “surprise”. If you look at Macbeth, for example, the witches basically tell you what will happen. The pleasure becomes not WHAT will happen, but WHY it happens. “What” will happen creates art that has a limited shelf life. Once you know the answer, it becomes irrelevant. If the question is why, it never ceases to be interesting. That for me, is a higher calling for any creative work.
-James Gray

‘I want to do a movie with no trailers; all the actors do their own makeup; we shoot it in the streets, without blocking off streets. I don’t want it to be a big production. I don’t want actors wandering away and sitting in their trailers for thirty minutes. I want everyone to stay on set. I want it to be like a student film, in terms of how many people would be on set.
Wes Anderson on Darjeeling

I felt that if I were to understand the motives behind my choices intellectually as opposed to on a purely instinctual or corporeal level, the ideas would somehow lose their power.
-kitao sakurai

"It will never say on the marquee if(the film) came in on time or on schedule." – friedkin

Films deal with emotion and reflect the fragmentation of experience. It is thus misleading to try to sum up the meaning of a film verbally. – kubrick

“I am not a hater” -George Bush

A SINGLE MAN

fashion is very fleeting. film lasts forever.
tom ford