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Film is such an extraordinary rich medium which can handle so many different modes of operation, combining together in the same place all these extraordinary disciplines which may be executed in their own right -- music, writing, picture making of all kinds, and I often feel that some filmmakers make films with one eye closed and two hands tied behind their backs.
--
From an interview in Art and Design, no. 49

 

Peter Greenaway

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It's nice to think about the Golden Age of Hollywood, with the big studios and their fabulous music departments and the hundreds of films coming out every year. But it's gone. In some ways the composer today is more fortunate, provided he can find a good film, because he can attempt more than he could two decades ago. Twelve-tone music was unheard of during Max Steiner's heyday, as were any other avant-garde techniques. Finally, the future of film music rests with the composers themselves. lf they take their work seriously and turn out the best that is within them, then perhaps we can persuade not only the public, but the filmmakers that good music is valuable in films. The public is not stupid. If our music survives, which I have no doubt it will, then it will be because it is good.

 

Jerry Goldsmith

 

In 2000, in honour of the 25th anniversary of the Toronto International Film Festival, 10 preeminent Canadian filmmakers were asked to create short films. Staying true to her thematic preoccupation with artists, audiences and their relationship, Rozema's contribution was This Might Be Good, a six-minute wordless, experimental piece about hope — the hope of audiences, actors and filmmakers who gather around films at festivals.

 

Patricia Rozema

 

Originally I was content to just simply accept the money, that was offered when people had adapted my comic books into films. Eventually I decided to refuse to accept any of the money for the films, and to ask if my name could be taken off of them, so that I no longer had to endure the embarrasment of seeing my work travested in this manner. The first film that they made of my work was "From Hell" Which was an adaptation of my "Jack the Ripper" narrative … In which they replaced my gruff Dorset police constable with Johhny Depp's Absinthe-swigging dandy. The next film to be made from one of my books was the regrettable "League of Extraordinary Gentlemen"... Where the only resemblence it had to my book was a similar title. The most recent film that they have made of mine is apparently this new "V for Vendetta" movie which was probably the final straw between me and Hollywood. They were written to be impossible to reproduce in terms of cinema, and so why not leave them simply as a comic in the way that they were intended to be. And if you are going to make them into films, please try to make them into better ones, than the ones I have been cursed with thus far.

 

Alan Moore

 

Painting and sculpture are very archaic forms. It’s the only thing left in our industrial society where an individual alone can make something with not just his own hands, but brains, imagination, heart maybe. It’s a very archaic form. Same things can be said with words, writing poetry, making sounds, music. It is a unique thing.. ..I think that the original revolutionary impulse behind the New York School, as I felt it anyway, and as I think my colleagues felt and the way we talked all the time, was a kind of a.. ..you felt as if you were driven into a corner against the wall, with no place to stand, just the place you occupied as if the act of painting was not making a picture.. ..it was as if you had to prove to yourself that truly the act of creation was still possible.. ..I felt as if I was talking to myself, having a dialectical monologue with myself to see if I could create.

 

Phillip Guston

 

There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.

 

Peter Greenaway