The Story of Film: An Odyssey (2011– )
Himself - Presenter: A lie to tell the truth. This is film making. The art of making us feel that we're there.
Himself - Presenter: Hollywood's cinema, the bauble, is brilliant at the anticipation of seeing. The desire to see. The pleasure of seeing.
Himself - Presenter: [about Brigitte Bardot] She brought more money to the French economy than the motor car manufacturer, Renault.
Himself - Interviewee: Freud had a phrase for it. The representation of thing by its opposite. If you push away far enough, you'll get there. You'll get to the thing you're pushing away from.
Himself - Interviewee: We exist, and our apprehension of a story is how we explain the kind of meanderings that we take. So, there's no such thing as the empirical story. It's just what happens to people.
Himself - Presenter: Godard said that the story of film is about boys filming girls, and about men worrying about mortality and women not doing so.
Himself - Presenter: [about Visconti's work] Society and beauty. It's as if Marxism itself was a crane-shot.
Himself - Presenter: [about opening sequence from 2001: A Space Odyssey] This famous cut, from pre-human life to the time of space travel, cuts out more time than any other edit in movie history.
Himself - Interviewee: [about making The Matrix] None of the actors knew Kung Fu, not even how to use their fists. I was very troubled by that. It took me four months to train them.
Himself - Interviewee: This tension of tradition and revolt against the tradition are, in a way, contradictory. But as a matter of fact, it is a synthesis. You will always find the synthesis of tradition and revolt from the tradition together in any good art.
Himself - Interviewee: [quoting his father] The most exciting thing about Indian cinema is that you get poetic justice in three hours. You don't get poetic justice in a lifetime, sometimes.
Himself - Presenter: [about Star Wars] This is the most absurd plot we've yet heard in this story of film, and yet the movie charms. In part because it draws richly from film history.
Himself - Presenter: [about David Lynch] He worked with unconscious material the way that a carpenter works with wood.
Himself - Presenter: 70s cinema had been about what we *wanted* to see. Jaws, The Exorcist, Star Wars... 90s cinema had become *can* see.
Himself - Presenter: [blurry 1900s footage] Real human courage and imagination goes into a shot like this. The camera and the guy are really strapped to the plane as it does a scary loop-T-loop.
Himself - Presenter: [crisp CGI aerial approach from Gladiator, 2000] Hard work and long hours spent in relative comfort, eating pizza, got a shot like this.
Himself - Interviewee: Science fiction particularly allows you to do things politically that you wouldn't do - that might not be accepted as easily if you did them straight, because it's not here, it's slightly over here. It's a little bit skewed.
Himself - Interviewee: [about Romeo + Juliet, 1996] The audience knows this is going to happen. How can it happen in a way in which their delicious expectation and enjoyment of it's-going-to-happen, be suspended so that then it happens, it's a surprise they knew was going to happen? It was perplexing.
Himself - Presenter: We know something will go wrong, but what? What'll happen next? That's the question the film makers asked, and will always ask.