In the studio system, things are expected of a film. By the first, second, third act, there's a generic language that comes out of the more commercial system.
A different language is a different vision of life.
That's so different in Hong Kong when I'm using my own mother language, I can treat the line in one thousand different ways, with many different reactions.
I ascribe a basic importance to the phenomenon of language. To speak means to be in a position to use a certain syntax, to grasp the morphology of this or that language, but it means above all to assume a culture, to support the weight of a civilization.
I try for a poetic language that says, This is who we are, where we have been, where we are. This is where we must go. And this is what we must do.
Music is the only language in which you cannot say a mean or sarcastic thing.
My first language is Gaelic.
Use what language you will, you can never say anything but what you are.
All human language draws its nature and value from the fact that it both comes from the Word of God and is chosen by God to manifest himself. But this relationship is secret and incomprehensible, beyond the bounds of reason and analysis.
Poetry should help, not only to refine the language of the time, but to prevent it from changing too rapidly.
The communication of the dead is tongued with fire beyond the language of the living.
The finest language is mostly made up of simple unimposing words.
Now why should the cinema follow the forms of theater and painting rather than the methodology of language, which allows wholly new concepts of ideas to arise from the combination of two concrete denotations of two concrete objects?
Language is much closer to film than painting is.
I feel impelled to speak today in a language that in a sense is new-one which I, who have spent so much of my life in the military profession, would have preferred never to use. That new language is the language of atomic warfare.