"I never thought of becoming a director. When I was twelve, the passage from silent film to the talkies had an impact on me - I still watch silent films"
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Resnais slips a quiet provocation into what sounds like a modest origin story. “I never thought of becoming a director” isn’t just humility; it’s a refusal of the neat, self-mythologizing career narrative the film world loves. He frames his artistic identity as something that happened sideways, through a technological rupture he experienced as a child: the jump from silent cinema to sound. That moment isn’t nostalgia bait. It’s a clue about what he values.
The line about the talkies having “an impact” carries a double edge. Sound expanded cinema, yes, but it also standardized it: dialogue-driven plots, star voices, a new tyranny of naturalism. Resnais, who made films obsessed with memory, time, and the gaps between what’s seen and what’s said, is pointing to the loss as much as the gain. Silent film trained viewers to read faces, cuts, and rhythms; it made meaning out of absence. His “I still watch silent films” is less a hobby than a manifesto: keep your eye sharp, distrust the easy explanatory comfort of speech.
Context matters here. Resnais comes out of a mid-century European modernism that treated cinema as an art of thought, not just story. By anchoring his sensibility in pre-sound cinema, he aligns himself with a medium that communicates through structure and sensation. The subtext: if you want to understand what film can do, go back to when it couldn’t lean on words.
The line about the talkies having “an impact” carries a double edge. Sound expanded cinema, yes, but it also standardized it: dialogue-driven plots, star voices, a new tyranny of naturalism. Resnais, who made films obsessed with memory, time, and the gaps between what’s seen and what’s said, is pointing to the loss as much as the gain. Silent film trained viewers to read faces, cuts, and rhythms; it made meaning out of absence. His “I still watch silent films” is less a hobby than a manifesto: keep your eye sharp, distrust the easy explanatory comfort of speech.
Context matters here. Resnais comes out of a mid-century European modernism that treated cinema as an art of thought, not just story. By anchoring his sensibility in pre-sound cinema, he aligns himself with a medium that communicates through structure and sensation. The subtext: if you want to understand what film can do, go back to when it couldn’t lean on words.
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| Topic | Movie |
|---|---|
| Source | Help us find the source |
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