There are simply not the words. My well-meaning and desperately worried friends would speak into my grief, using words that made no sense.
[A] historia do cinema, para mim, não devia ser prosa, devia estar mais próxima da poesia e poesia implica lugar, textura, luminosidade, atmosfera, paisagem.
Alguns cineastas, como David Lynch, sentem que podemos fazer os nossos filmes apenas estando sentados numa sala e a olhar para a janela, para o jardim abaixo ou para a cerca. E podemos imaginar um mundo aí, o que é verdade. Outras pessoas podem fazer o contrário, como Gilles Deleuze, que não gostava muito de viajar. Mas eu não consigo esperar para me pôr na estrada. Sou uma daquelas pessoas cujo cérebro só funciona quando estou a andar. Por isso, sim, viajo muito.
Welcoming the news as good news is also what cinema is about.
You have to have a great desire for everything you’re going to do.
It’s really about this back and forth between global philosophy and local solution. You have to have a radical philosophy, I think, that’s going to be your compass for the whole [project].
Tricia Tuttle: This bubble – it reoccurs lots in your work. You sort of create these hermetically sealed (in some ways) universes. What is it about those spaces that you’re interested in as a writer?
Celine Sciamma: It’s female driven, and if you want to share the intimacy of a female character, you have to share their loneliness. Otherwise, they have to put up with the performance.
It's not only about the films, it's also about the experience of going to the films. It's about me taking my bike; it's raining; the cinema is in my town but it's like 8Km away. And you go into the Theater by yourself and it felt like the first time I could actually make a decision for myself, in a way.
And I got out and it was raining, and I had this blue raincoat, and I remember this contagion between the film and life…
It's not just about the mental space, it's also a way of life.
What should be contemporary is the film. (…) [Contemporaneity] is not what you're looking at, it's how you're looking at things.