Silent Films Quotes

The silent film, it was cut at the age of thirty.

Now I’m the go-to-girl for silent films.

I love silent films. The future is unwritten.

It was my mustache that landed jobs for me. In those silent-film days it was the mark of a villain. When I realized they had me pegged as a foreign nobleman type I began to live the part, too. I bought a pair of white spats, an ascot tie and a walking stick.

When I was twelve, the passage from silent film to the talkies had an impact on me-I still watch silent films. I don't think that there is any such thing as an old film; you don't say, 'I read an old book by Flaubert,' or 'I saw an old play by Moliere.'

I have a very 'theatre' face. I have what they call a wide mask. I probably would have been a big film star in the '20s with the silent films where they used a lot of key lighting, and make-up carved out your face.

Garrel has succeeded in filming something we have never seen before: the faces of actors in silent films during those moments when the black intertitles, with their paltry, illuminated words, filled the screen.

I wasn't that familiar with silent films. I didn't know, for example, how hugely popular silent films were in the 1920s, how people would go to the movies several times a week.

I discovered that silent film is almost an advantage. You just have to think of the feeling for it to show. No lines pollute it. It doesn't take much - a gaze, an eyelash flutter - for the emotion to be vivid.

The military has a very long relationship with Hollywood that dates back to the silent film era.

When you are modelling, you are creating a picture, a still life, perhaps something like a silent film. You convey emotion but you are only using your body.

Silent films were, I think, more different than we know to sound films. We think of it as simply that we added dialogue and in actual fact I think it was an entirely different art form.

I was always the hero with no vices, reciting practically the same lines to the leading lady. The current crop of movie actors are less handicapped than the old ones. They are more human. The leading men of silent films were Adonises and Apollos. Today the hero can even take a poke at the leading lady. In my time a hero who hit the girl just once would have been out.

I saw 'The Artist.' It's really beautiful and it's all done to the letter with all the silent film techniques. The costumes were amazing and the dog is so good.

In silent films, quite complex plots are built around action, setting, and the actors gestures and facial expressions, with a very few storyboards to nail down specific plot points.

Im obsessed with those old romance films. I also would love to venture into the silent film world. I think thats extremely compelling and interesting and really relies on the acting, even more so than when you have an actor speaking.

Horror has been a genre since the beginning of cinema, all the way back to the days of silent films. I don't think it will ever go away because it's so universal. Humor doesn't always travel to other countries, but horror does.

I studied cinema at the university so I had a very classical approach to it. I studied all those silent films, and then the films from the 1940's, the Nouvelle Vague, the late Hollywood films. Now I realize, as a young actor, that it's one of my duties to actually be aware of what is today's industry and today's next big directors.

Do you know anything about silent films?" "Sure," I said. "The first ones were developed in the late nineteenth century and sometimes had live musical accompaniment, though it wasn't until the 1920s that sound became truly incorporated into films, eventually making silent ones obsolete in cinema.

The silent film has a lot of meanings. The first part of the film is comic. It represents the burlesque feel of those silent films. But I think that the second part of the film is full of tenderness and emotion.

I always found Louise Brooks interesting. She was an icon of the silent - film era, and I knew she'd grown up in Kansas, and that she was smart and rebellious and sharp - tongued.

A film, since it is primarily a visual medium, should really be like a silent film. You should be able to watch something and understand what was going on and use voice when you need to communicate something you can't necessarily communicate visually. The book is the opposite. The book is an inner monologue which is beautiful.

While I was writing the book, I went to see Louise Brooks's most famous film, Pandora's Box, at the Tivoli in Kansas City, and it was a lovely experience. You can watch old silent films on DVD or even on YouTube, but it was a different feeling watching her up on the big screen, seeing the film the way people saw it all those years ago.

With today's movies, if we took out all the bad language, we'd go back to silent films.

Ballet for a rainy day Silent film of melting miracle play Dancing out there through my window To the backdrop of a slow descending grey

For me, each book is kind of like a silent film. If you were to remove the words and just look at the pictures, you should be able to tell what the story is about without having to read a word of text. That's what I think I brought from doing artwork for film to doing artwork for books.

Perhaps I shall not write my account of the Paleolithic at all, but make a film of it. A silent film at that, in which I shall show you first the great slumbering rocks of the Cambrian period, and move from those to the mountains of Wales...from Ordovician to Devonian, on the lush glowing Cotswolds, on to the white cliffs of Dover... An impressionistic, dreaming film, in which the folded rocks arise and flower and grow and become Salisbury Cathedral and York Minster.

It was an honor to work with Samantha Morton on this Casablanca-esque, silent-film-esque, Americana photobooth Woolworth's hay day period piece of surrealism/ realism/ story time tell-tale-ism, black and white 35 mm film, washed in strange light, over this love hate tune, heartbreak song, life-goes-on lullaby, The Last Goodbye. It's a doorway into the future of the fatal past-tense. Get it?

I like some of the early silent films because I love to watch how actors had to play then. What would interest me today is to do a silent film.

I intend more of a kinship with silent films than more modern film. I like the old cinema. My films are more of a hybrid - a different style of filmmaking to what I call talking head movies. Some people don't get it. Especially the more academic types.

When I couldn't speak English, I loved silent films circa 1914-1929, Abel Gance being my favorite director.