"And is Chaplin—comedy? No: he is Chaplin, pure and simple; a unique phenomenon, never to be repeated. He is unadulterated hyperbole; but above all he stuns us at every moment of his screen existence with the truth of his hero’s behavior. In the most absurd situation Chaplin is completely natural; and that is why he is funny."
"At his best, and Chaplin remained at his best for a long time, he was the greatest comedian that ever lived."
"My religion is cinema. I believe in Charlie Chaplin…"
"He is beyond praise because he is the greatest of all. What else can one say? The only filmmaker, anyway, to whom one can apply without misunderstanding that very misleading adjective, ‘humane’… Today one says Chaplin as one says Da Vinci—or rather Charlie, like Leonardo."
"The master of masters, the filmmaker of filmmakers, for me is still Charlie Chaplin. He has done everything in his films—script, direction, setting, production, performance and even the music… His films are not only examples of perfect unity, but all his work is one. One may say indeed of Chaplin that he has made only one film and that every facet of that film is a different enactment of the same profession of faith."
"All Chaplin’s early films assured me that the comedy can say in a grotesque way much more about people’s characters than serious films, which after a certain time fade away and became ridiculous. Good comedy is immortal."
"When I was young, the idea of an orgy was tremendously exciting. Charlie Chaplin once organized one in Hollywood for me and two Spanish friends, but when the three ravishing young women arrived from Pasadena, they immediately got into a tremendous argument over which one was going to get Chaplin, and in the end all three left in a huff."
"Last year I went to the Cannes Film Festival and met Charles Chaplin. They showed his works. I was deeply impressed by his greatness. His films, his methods and content, are modern and so contemporary; he is a great genius."
"[Did other filmmakers teach you anything?] There was one, an old man whom I had the fortune to meet very old, Charlie Chaplin; he told me that everyone could do this job, but that it is very demanding… He was the only guy who you couldn’t see in bars, nightclubs, or at receptions. He told me one had to stay at home and work…”
Pier Paolo Pasolini
"You can always feel underneath my love for Dreyer, Mizoguchi and Chaplin… I feel this mythic epicness in both Dreyer and Mizoguchi and Chaplin: all three see things from a point of view which is absolute, essential and in a certain way holy, reverential."
"If there is any name which can be said to symbolize cinema—it is Charlie Chaplin… I am sure Chaplin’s name will survive even if the cinema ceases to exist as a medium of artistic expression. Chaplin is truly immortal."
"If something is really happening on the screen, it isn’t crucial how it’s shot. Chaplin had such a simple cinematic style that it was almost like I Love Lucy, but you were always hypnotized by what was going on, unaware of the essentially non-cinematic style. He frequently used cheap sets, routine lighting and so forth, but he made great films. His films will probably last longer than anyone else’s.”
Vittorio De Sica
"Truly good films—like Chaplin’s—should stimulate as well as soothe, should appeal to the mind as well as to the senses, should kindle thought as well as the emotions."
Marcello Mastroianni in Federico Fellini’s 8½ on the official poster for Cannes 2014, designed by Hervé Chigioni and Gilles Frappier.
8½ played in the Official Selection at Cannes in 1963.
"I am hopelessly in love with this man. Completely. Because, I don’t know why, I have met him a few times and… I love his work and I love him as a person, if he is a person, which I doubt, because he has no limits; he’s just like quicksilver—all over the place. I have never seen anybody like that before. He is enormously intuitive. He is intuitive; he is creative; he is an enormous force. He is burning inside with such heat. Collapsing. Do you understand what I mean? The heat from his creative mind, it melts him. He suffers from it; he suffers physically from it. One day when he can manage this heat and can set it free, I think he will make pictures you have never seen in your life." — Ingmar Bergman
"He had individual style. There are things you cannot take a course in. You are born with it. He was a first-class clown, with a unique, great concept. In life, when you were with Fellini, you always knew you weren’t with anyone else. He was in his own orbit. When someone like Fellini dies, there is no way to pass on a formula, because there is no formula. What he did came out of the person, out of him. People will study and analyze and copy, and maybe someone will achieve to the point it is said of him, ‘His film is like Fellini.’ But it can only be like Fellini. When you can’t pass it on, it’s the real stuff.” — Billy Wilder
For the first 50 minutes of the film, scenes appear in shades of only red and cyan blue; green objects are rendered as blue. This was done, according to Scorsese, to emulate the look of early bipack color films, in particular the Multicolor process, which Hughes himself owned, emulating the available technology of the era. [x]