The First Element That I

The Bottom Line Is, I Tend To Be Going Back To Older And Older Music.

The Cinema Began With A Passionate, Physical Relationship Between Celluloid And The Artists And Craftsmen And Technicians Who Handled It, Manipulated It, And Came To Know It The Way A Lover Comes To Know Every Inch Of The Body Of The Beloved. No Matter Where The Cinema Goes, We Cannot Afford To Lose Sight Of Its Beginnings.

[action's] A Western Thing. We Think Of The Hero Going Into Battle, Rebelling Against A Government Or An Oppressor, But [in Kundun] Action Is Nonaction Or What Appears To Be Nonaction. That's A Hard Concept For Western Audiences. . . . We Wanted To Show A Kind Of Moral Action, A Spiritual Action, An Emotional Action. Some People Will Pick Up On It; Some Won't.

[david Lean's] Images Stay With Me Forever. But What Makes Them Memorable Isn't Necessarily Their Beauty. That's Just Good Photography. It's The Emotion Behind Those Images That's Meant The Most To Me Over The Years. It's The Way David Lean Can Put Feeling On Film. The Way He Shows A Whole Landscape Of The Spirit. For Me, That's The Real Geography Of David Lean Country. And That's Why, In A David Lean Movie, There's No Such Thing As An Empty Landscape.

I Loved The Idea Of Seeing The World Through A Boy's Eyes.