Yes, actually ever since I saw his films and tried to write about them, Sirk's been in everything I've done. Not Sirk himself, but what I've learned from his work.
Rainer Werner FassbinderRead
I'd like to be for cinema what Shakespeare was for theatre, Marx for politics and Freud for psychology: someone after whom nothing is as it used to be.
Interpretation
The quote expresses a desire for transformative impact in art, akin to the influence of Shakespeare, Marx, and Freud in their respective fields.
Rainer Werner Fassbinder aspires to leave a profound mark on cinema that would alter its trajectory and perception, similar to how Shakespeare revolutionized theatre, Marx changed politics, and Freud impacted psychology. The ambition reflects a yearning for artistic innovation and a legacy that shifts paradigms, suggesting that true greatness entails cultivating a new era in one's field.
In practice
During a film festival, one might quote this to inspire filmmakers to strive for significant artistic contributions.
Yes, actually ever since I saw his films and tried to write about them, Sirk's been in everything I've done. Not Sirk himself, but what I've learned from his work.
So certainly, if we can tell evil stories to make people sick, we can also tell good myths that make them well.
I detest the idea that love between two persons can lead to salvation. All my life I have fought against this oppressive type of relationship. Instead, I believe in searching for a kind of love that somehow involves all of humanity.
It isn't easy to accept that suffering can also be beautiful... it's difficult. It's something you can only understand if you dig deeply into yourself.
The more real things get, the more like myths they become. There have always been myths, but the myths of earlier times were, Im convinced, bad ones, because they made people sick. So certainly, if we can tell evil stories to make people sick, we can also tell good myths that make them well.
Homer has taught all other poets the art of telling lies skillfully.
Since I have always preferred making plans to executing them, I have gravitated towards situations and systems that, once set into operation, could create music with little or no intervention on my part. That is to say, I tend towards the roles of planner and programmer, and then become an audience to the results
I think theatre should always be somewhat suspect.
You have to be lonely to be a writer
I'm lucky enough to be able to make only movies I'm interested in seeing. That has to be an instinctive thrust. The audience knows when you're faking it. They can hang any kind of moniker they want on me.
You know, they ask me if I were on a desert island and I knew nobody would ever see what I wrote, would I go on writing. My answer is most emphatically yes. I would go on writing for company. Because I'm creating an imaginary - it's always imaginary - world in which I would like to live.
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