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Pauline Kael PAULINE KAEL 1919-2001; American film critic
I admire the artist who can make something good for the art-house audience, but I also applaud the commercial heroism of a director who can steer a huge production and keep his sanity and perspective and decent human feelings ... beautifully intact. ... I am not being facetious when I suggest that the quiet, concealed art of good craftsmanship may be revolutionary now. It’s more difficult than ever before for a director to trust his accumulated knowledge and experience, because on big commercial projects there’s so much pressure on moviemakers to imitate the techniques of the latest hit, to be ‘up to date’, which means always to be out of date. • review of Carol Reed’s musical Oliver! in The New Yorker, December 1968
H V Kaltenborn H V KALTENBORN 1878-1965; US radio commentator; appeared as himself in Mr Smith Goes to Washington and The Day the Earth Stood Still
I doubt if television has much value at the present time. There is nothing you have shown us which could not be more definitely shown by lantern slides, moving pictures or sound movies. Engineers who have worked on television for commercial concerns seem convinced that there is nothing to it. • At a demonstration of television by Professor Edwin B Kurtz, head of electrical engineering at the State University of Iowa, 1934
Immanuel Kant IMMANUEL KANT 1724-1804; German philosopher
Certainly one may say, ‘Freedom to speak or write can be taken from us by a superior power, but never the freedom to think!’ But how much, and how correctly, would we think if we did not think, as it were, in common with others, with whom we mutually communicate! • ‘What is Orientation in Thinking’ in Critique of Practical Reason and Other Writing in Moral Philosophy, 1788
Alan Kay Dr ALAN KAY 1940- ; Chief scientist, Apple Computer; co-founder of Xerox PARC; Vice-president R&D Walt Disney Company
The best way to predict the future is to invent it. • Article in MacWorld, mid 1980s
Robert Kee ROBERT KEE 1919- ; British television and print journalist
What emerges clearly is that the Labour leaders' principal complaint is that they were made to look silly. The complaint has substance. But do they not in fact on occasion look silly? ... Disrespect plays a not inconsiderable part in any healthy democracy's attitude to its politicians. It is the duty of the Fourth Estate to reflect some of it. • about the controversial Yesterday's Men documentary, in The Listener, 22 July 1971
H V Kershaw H V KERSHAW 1918-1992; Producer, Granada Television; pioneer of Coronation Street
The truth is, of course, that nowadays the BBC is much more of a commercial channel than is ITV. The Street Where I Live, 1981
John Maynard Keynes JOHN MAYNARD KEYNES 1883-1946; British economist, architect of the welfare state
The artist walks where the breath of the spirit blows him. He cannot be told his direction. He doesn't know it himself. But he leads the rest of us into fresh pastures and teaches us to love and enjoy what we often begin by rejecting.
        At last the Public Exchequer has recognised the support, the encouragement of the civilising arts and life as part of their duty. I don't believe it's yet realised what an important thing has happened. State patronage of the arts has crept in and it's happened in a very English, informal, unostentatious way. Half-baked, if you like.
        By provision of concert halls, modern libraries, theatres and suitable centres we desire to assure our people full access to the great heritage of culture in this nation. How satisfactory it would be if different parts of the citizenry would again walk their several ways as they once did. Let every part of merrie England be merry in its own way. Death to Hollywood!
• BBC radio talk about the founding of the Arts Council, July 1945
David Kingsley DAVID KINGSLEY Managing director, National Film Finance Corporation 1954-57, managing director, British Lion
It is now apparent that the type of middle budget picture which is most appropriate for the training of new directors is not suited to the present pattern of exhibition. • address to Association of Cinematograph Technicians (ACTT) annual general meeting, quoted in Films and Filming, August 1955
  F J KINGSBURY American historian and sociologist
Within a very recent period, three new factors have been suddenly developed which promise to exert a powerful influence on the problems of city and country life. These are the trolley, the bicycle and the telephone. It is impossible to foresee at present just what their influence is to be on the question of the distribution of population; but it is certain, that it adds from five to fifteen miles to the radius of every large town. It is by such apparently unimportant, trifling, and inconspicuous forces that civilisation is swayed and moulded in its evolutions and no man can foresee them or say whither they lead. • 1895; cf, Morley 1895
SŘREN KIERKEGAARD Sřren Aabye Kierkegaard
1813-1855; Danish philosopher
Suppose someone invented an instrument, a convenient little talking tube which, say, could be heard over the whole land. ... I wonder if the police would not forbid it, fearing that the whole country would become mentally deranged if it were used. • source unknown; quoted in Malcolm Muggeridge: A Third Testament 1976, p129
LOUIS KLOTZ Louis Lucien Klotz
1868-1930; French Finance Minister 1910-1913 and 1917-1920
En raison de la vogue dont il jouit, le cinématographe peut plus facilement que tout autre supporter le poids de la taxe.
Because of the fashion it is enjoying, the cinema is better able than others to support the tax. [0041]
• In response to complaints about the amusement tax, 1920; quoted in Georges Billecocq: Le Régime fiscal de l'industrie cinématographique en France, Paris, 1925
THEODORE KOMISARJEVSKY Fyodor Fyodorovich Komissarzhevsky
1882-1954; Russian designer, active in England 1919-1939, designed cinemas for the Granada circuit
The commercial cinema not only caters for imbeciles, it breeds them. Kine Weekly, 17 January 1935
Alexander Korda Sir ALEXANDER KORDA Sándor László Kellner
1893-1956; Hungarian-born British film producer
If American interests obtained control of British production companies they may make British pictures here but the pictures made would be just as American as those made in Hollywood. We are now on the verge of forming a British school of film making in this country. • Evidence to the Go to Official: Moyne CommitteeMoyne Committee, 1936
Siegfried Kracauer SIEGFRIED KRACAUER 1889-1966; German film historian and theorist
Films of a nation reflect its mentality in a more direct way than other artistic media. From Caligari to Hitler, 1959
Stanley Kubrick STANLEY KUBRICK 1928-1999; American-born film director/producer
Take a film that costs $10m. Today it’s not unusual to spend $8m on USA advertising and $4m on international advertising. On a big film, add $2m for release prints. Say there is a 20 per cent studio overhead on the budget: that’s $2m more. Interest on the $10m production cost, currently at 20 per cent a year, would add an additional $2m a year, say, for two years—that’s another $4m. So a $10m film already costs $30m. Now you have to get it back. Let’s say an actor takes 10 per cent of the gross, and the distributor takes a worldwide average of a 35 per cent distribution fee. To roughly calculate the break-even figure, you have to divide the $30m by 55 per cent, the percentage left after the actor’s 10 per cent and the 35 per cent distribution fee. That comes to $54m of distributor’s film rental. So a $10m film may not break even, as far as the producer’s share of the profit is concerned until 5.4 times its negative cost. • quoted in Michael Ciment: Stanley Kubrick, 1984
Bernd Kundrun BERND KUNDRUN 1957- ; Chief executive of German television channel Premiere
There is no solution in sight. I am very pessimistic about the digital market. • February 1997
Akira Kurosawa AKIRA KUROSAWA 1910-1998; Japanese film director
I would never make a picture especially for foreign audiences. If a work can’t have a meaning to Japanese audiences, I as a Japanese artist am simply not interested. How can a man make a film for another culture without a keen feeling for the people, their likes and dislikes, the way they think and act? • quoted in ‘Japan’s Poet Laureate of Film’, Show Business Illustrated, April 1962
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Page updated 27 Julyl 2008
Compilation and notes © David Fisher