Relay Races Quotes

I just like going into strange worlds.

I have no intention of lingering through a season, just to have a chance to be an alternate on a relay. I don't want that.

I never gossip. I observe. And then relay my observations to practically everyone.

I think when you're young and have that first burst of energy and make five or six pictures in a row that tell the stories of all the things in life you want to say... well, maybe those are the films that should have won me the Oscar.

Think of it. We are blessed with technology that would be indescribable to our forefathers. We have the wherewithal, the know-it-all to feed everybody, clothe everybody, and give every human on Earth a chance. We know now what we could never have known before - that we now have the option for all humanity to make it successfully on this planet in this lifetime. Whether it is to be Utopia or Oblivion will be a touch-and-go relay race right up to the final moment.

Every film should have its own world, a logic and feel to it that expands beyond the exact image that the audience is seeing.

All my movies are about strange worlds that you can't go into unless you build them and film them. That's what's so important about film to me. I just like going into strange worlds.

I don’t like the idea of “understanding” a film. I don’t believe that rational understanding is an essential element in the reception of any work of art. Either a film has something to say to you or it hasn’t. If you are moved by it, you don’t need it explained to you. If not, no explanation can make you moved by it.

Unlike all the other art forms, film is able to seize and render the passage of time, to stop it, almost to possess it in infinity. I'd say that film is the sculpting of time.

I see History as a relay race in which one of us, before dropping in his tracks, must carry one stage further the challenge of being a man.

A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later.

A film is - or should be - more like music than like fiction.

Nothing is born of nothing, least of all knowledge, modernity, or enlightened thought; progress is made in tiny surges, in successive laps, like an endless relay race. But there are links without which nothing would be passed on, and for that reason, they deserve the gratitude of all who benefited from them.

Running is the greatest metaphor for life, because you get out of it what you put into it.

History of science is a relay race, my painter friend. Copernicus took over his flag from Aristarchus, from Cicero, from Plutarch; and Galileo took that flag over from Copernicus.

Whether it is to be Utopia or Oblivion will be a touch-and-go relay race right up to the final moment.... Humanity is in 'final exam' as to whether or not it qualifies for continuance in Universe.

High culture is nothing but a child of that European perversion called history, the obsession we have with going forward, with considering the sequence of generations a relay race in which everyone surpasses his predecessor, only to be surpassed by his successor. Without this relay race called history there would be no European art and what characterizes it: a longing for originality, a longing for change. Robespierre, Napoleon, Beethoven, Stalin, Picasso, they're all runners in the relay race, they all belong to the same stadium.

High culture is nothing but a child of that European perversion called history, the obsession we have with going forward, with considering the sequence of generations a relay race in which everyone surpasses his predecessor . . .

The realm of superstitions, fortune-telling, presentiments, intuition, dreams, all this is the inner life of a human being, and all this is the hardest thing to film.

You make films to give people something, to transport them somewhere else, and it doesn't matter if you transport them to a world of intuition or a world of intellect...The realm of superstitions, fortune-telling, presentiments, intuition, dreams, all this is the inner life of a human being, and all this is the hardest thing to film... I've been trying to get there from the beginning. I'm somebody who doesn't know, somebody who's searching.

I steal from every single movie ever made. I love it - if my work has anything it's that I'm taking this from this and that from that and mixing them together. If people don't like that, then tough titty, don't go and see it, all right? I steal from everything. Great artists steal; they don't do homages.

When I make a film, I never stop uncovering mysteries, making discoveries. When I'm writing, filming, editing, even doing promotional work, I discover new things about the film, about myself, and about others. That is what I'm subconsciously looking for when shooting a film: to glimpse the enigmas of life, even if I don't resolve them, but at least to uncover them. Cinema is curiosity in the most intense meaning of the word.

I can't change my gender, and I refuse to stop making movies.

Successful innovation is not a single breakthrough. It is not a sprint. It is not an event for the solo runner. Successful innovation is a team sport, it's a relay race.

Either I did away with that fear through writing, or in the course of writing, I discovered it was no longer so intrusive or threating. The bottom line is, it's gone.

I wonder whether my bleak-o-meter is set differently from other people's. I have such passion for what I do that I can't see it as bleak. When people use that word, or “grim” or “gritty,” I just think, “Oh, come on, look a bit deeper.” My films don't give you an easy ride. I can see that. The sense I get is that people have quite a physical experience with them. They feel afterwards that they've really been through something.

A story should have a beginning, a middle and an end, but not necessarily in that order.

In our work, the question is, how much you absorb from others. So for me, creativity, is really like a relay race. As children we are handed a baton. Rather than passing it onto the next generation as is, first we need to digest it and make it our own.

God intended motherhood to be a relay race. Each generation would pass the baton on to the next.

An essential element of any art is risk. If you don't take a risk then how are you going to make something really beautiful, that hasn't been seen before?

Select only things to steal that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent

Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination.

Select only things to steal from that speak directly to your soul.

Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic.

It's like a relay race of being ignored. It is really challenging, but whenever I get asked that stuff, I feel really self-conscious about it. I feel really lucky because we have a lot of help. When I first began to be a dad with Gwen [Stefani], I was amazed at what she went through.

I really subscribe to that old adage that you should never let the audience get ahead of you for a second. So if the film's abrasive and wrongfoots people then, y'know, that's great. But I hope it involves an audience.

Actually, I can't stand watching violent scenes in films; I avoid watching horror films. I don't tend to watch action films mainly because I find them boring, but I watch the films of David Cronenberg and Martin Scorsese, usually in a state close to having a heart attack. I'm a complete coward. I make violent films as a result of my sensitivity to violence - in other words, my fear of violence.