".. So, you have to be daring to do things like this, because the world is not easily accepting of filmmaking. There will always be some sort of an obstacle, and the worst of all obstacles is the spirit of bureaucracy. You have to find your way to battle bureaucracy. You have to outsmart it, to outgut it, to outnumber it, to outfilm them -- that's what you have to do." -- Werner Herzog

Something in all men profoundly rejoices in seeing a car burn.

-Jean Baudrillard

A list by Baudrillard:

"Unreality no longer resides in the dream or fantasy, or in the beyond, but in the real's hallucinatory resemblance to itself"


fashion -- more beautiful than beautiful
simulation -- more true than the true
pornography -- more sex than sex
seduction -- more false than the false
obscenity -- more visible than the visible
terrorism -- more violent than the violent
obesity -- more fat than the fat
catastrophe -- more eventful than the event
hypertelia -- more final than the final
hyperreality -- more real than the real

"To me style is just the outside of content, and content the inside of style, like the outside and the inside of the human body. Both go together, they can't be separated."
- Jean-Luc Godard

"Make visible what, without you, might perhaps never have been seen." - Robert Bresson

“It’s not where you lift it from, it’s where you lift it to” – Jarmush recalling Godard.

“Stare. It is the way to educate you’re eye and more. Stare, pry, listen, eavesdrop. Die knowing something. You are not here long.” – Photographer Walker Evans

"There is no point in having sharp images when you've fuzzy ideas." - Jean-Luc Godard

Qualia : are most simply defined as the properties of sensory experiences by virtue of which there is something it is like to have them. These properties are, by definition, epistemically unknowable in the absence of direct experience of them; as a result, they are also incommunicable.

Or

There is an ancient Sufi parable about coffee which nicely expresses the concept: "He who tastes, knows; he who tastes not, knows not."

The phrase “pillow shot,” which has become one of the standard bywords in Ozu criticism, comes from Noël Burch's To the Distant Observer: Form and Meaning in Japanese Cinema (University of California Press, Berkeley, 1979) in which he argues that Ozu's transitions (for example, the shots of clotheslines and telephone poles that fill the gaps between scenes in Tokyo Story [1953]) “never contribute to the narrative proper… [depicting spaces] that are invariably presented as outside the diegesis, as a pictorial space on another plane of 'reality' as it were, even when the artifacts shown are, as is often the case, seen previously or subsequently in shots that belong wholly to the diegesis”

‘If you don’t go when you want to go, when you go, you’ll find you’re gone,’

- New Zealand Motor bike legend, Burt Munro