Film Conversations: Greengrass, Loach & Musk
The moving image has been with us as long as we have made art. From prehistoric shadowgraphy, through to shadow puppetry and camera obscura- we have been fascinated by creating and observing…
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1 interview · 6 quotes
Conversations
The moving image has been with us as long as we have made art. From prehistoric shadowgraphy, through to shadow puppetry and camera obscura- we have been fascinated by creating and observing…
From the archive
In television, you have to start thinking in terms of images- and understand how drama changes from its theatrical to cinematic form.
— Ken LoachBritish Filmmaker Known for Social Realist Films & Political Advocacy
I take it back to those still black and white photographs from earlier days, a form of photography that observes people, and explores the ways of observing them.
— Ken LoachBritish Filmmaker Known for Social Realist Films & Political Advocacy
Working class life has been important to me; it's not a question of pity or disaster- but of enjoying the comedy, warmth and generosity of spirit that you find there – alongside the use of language, dialects, and the stories of childhood and old-age.
— Ken LoachBritish Filmmaker Known for Social Realist Films & Political Advocacy
The look of a film indicates the relationship you have with characters. You don't pick an aesthetic in abstract – you need to have a core point, a core reason to make a film, and the form of aesthetic springs from that necessity. Everything has to relate to that core intention.
— Ken LoachBritish Filmmaker Known for Social Realist Films & Political Advocacy
Contemporary photography is quite exploitative – and looks at people as objects in a display-case rather than as individuals with whom we have a shared common humanity, connection, and solidarity. Photography has gone from I am part of this, to look at this.
— Ken LoachBritish Filmmaker Known for Social Realist Films & Political Advocacy
You don't pick an aesthetic in abstract – you need to have a core point, a core reason to make a film, and the form of aesthetic springs from that necessity. Everything has to relate to that core intention.
— Ken LoachBritish Filmmaker Known for Social Realist Films & Political Advocacy