Denis Villeneuve is one of the most acclaimed and visionary directors of our time. He has directed films such as Arrival, Blade Runner 2049, Dune, and Dune: Part Two, which have been praised for their stunning visuals, immersive soundscapes, and complex narratives. He is also a passionate advocate for cinema as a unique and powerful art form, which he believes is being corrupted by television’s influence and dominance.

In a recent interview with The Times of London, Villeneuve expressed his disdain for dialogue in film, and his preference for pure image and sound. He said: “Frankly, I hate dialogue. Dialogue is for theatre and television. I don’t remember movies because of a good line, I remember movies because of a strong image. I’m not interested in dialogue at all. Pure image and sound, that is the power of cinema, but it is something not obvious when you watch movies today. Movies have been corrupted by television.”

Villeneuve’s statement may seem controversial and provocative, but it is not without merit and logic. In this article, we will explore Villeneuve’s critique of cinema’s shift from visuals to dialogue, and why he thinks cinema should be more visual and less verbal.

The Origins of Cinema: A Visual Medium

Cinema, as we know it today, was born in the late 19th century, when inventors such as the Lumière brothers, Thomas Edison, and Georges Méliès created devices and techniques to capture and project moving images. These early films were silent, meaning that they had no synchronized sound or dialogue. Instead, they relied on visual storytelling, using gestures, expressions, actions, and editing to convey the plot, the characters, and the emotions.

These silent films were also highly creative and experimental, exploring various genres, styles, and themes. Some of the most influential and innovative silent films include The Cabinet of Dr. Caligari, Metropolis, The General, The Passion of Joan of Arc, and Battleship Potemkin. These films demonstrated the artistic potential and the expressive power of cinema as a visual medium, and inspired generations of filmmakers and audiences.

The Rise of Sound and Dialogue: A Verbal Medium

The advent of sound and dialogue in film was a major technological and cultural breakthrough, which occurred in the late 1920s and early 1930s. The first feature-length sound film, The Jazz Singer, was released in 1927, and marked the beginning of the transition from silent to sound cinema. The introduction of sound and dialogue opened up new possibilities and challenges for filmmakers and actors, who had to adapt to the new medium and its conventions.

Sound and dialogue also changed the nature and the function of cinema, making it more verbal and less visual. Dialogue became the primary mode of communication and narration, while visuals became secondary and supportive. Dialogue also became the main source of information and emotion, while visuals became more realistic and less symbolic. Dialogue also became the main tool of characterization and identification, while visuals became more standardized and less distinctive.

Sound and dialogue also influenced the genres and the themes of cinema, making it more diverse and complex. Some of the most popular and influential sound films include Citizen Kane, Casablanca, The Godfather, Star Wars, and The Silence of the Lambs. These films demonstrated the artistic potential and the expressive power of cinema as a verbal medium, and inspired generations of filmmakers and audiences.

The Critique of Dialogue: A Corrupted Medium

While sound and dialogue have undoubtedly enriched and expanded cinema, they have also, according to Villeneuve, corrupted and diminished it. Villeneuve argues that dialogue has taken over cinema, and has reduced its visual and sonic qualities. He argues that dialogue has made cinema more dependent on television, and has lost its original and distinctive identity. He argues that dialogue has made cinema more conventional and predictable, and has lost its creative and experimental edge.

Villeneuve’s critique of dialogue is not new or unique. Many filmmakers and critics have expressed similar views and concerns, such as Alfred Hitchcock, David Lynch, Terrence Malick, and Andrei Tarkovsky. They have argued that dialogue is often unnecessary, distracting, and boring, and that it can interfere with the cinematic experience and the cinematic language. They have argued that dialogue is often used as a crutch, a shortcut, and a filler, and that it can undermine the visual and sonic elements of cinema. They have argued that dialogue is often overrated, overused, and overdone, and that it can limit the imagination and the interpretation of cinema.

The Advocacy of Visuals: A Pure Medium

Villeneuve’s advocacy of visuals is not only a critique of dialogue, but also a celebration of cinema. Villeneuve argues that visuals are the essence and the strength of cinema, and that they should be prioritized and emphasized. He argues that visuals are the most effective and the most expressive way of telling stories, creating characters, and conveying emotions. He argues that visuals are the most original and the most distinctive feature of cinema, and that they should be preserved and protected.

Villeneuve’s advocacy of visuals is also a reflection of his own style and vision. Villeneuve is known for his mastery and his use of visuals, which he employs to create immersive and captivating worlds, such as the alien landscapes of Arrival, the dystopian cityscapes of Blade Runner 2049, and the desert planet of Dune. He is also known for his minimal and his use of dialogue, which he employs to create subtle and nuanced performances, such as the silent communication of Amy Adams in Arrival, the existential questions of Ryan Gosling in Blade Runner 2049, and the inner conflict of Timothée Chalamet in Dune.

Villeneuve’s advocacy of visuals is also a challenge and an invitation to filmmakers and audiences. Villeneuve challenges filmmakers to explore and to experiment with the visual possibilities and the visual language of cinema, and to resist and to reject the verbal dominance and the verbal influence of television. He also invites audiences to appreciate and to enjoy the visual beauty and the visual power of cinema, and to engage and to participate in the visual storytelling and the visual interpretation of cinema.

The Conclusion

Denis Villeneuve is a filmmaker who believes in cinema as a visual medium, and who criticizes cinema as a verbal medium. He thinks that dialogue has corrupted cinema, and that visuals should be more visual and less verbal. He thinks that cinema should be more pure and less corrupted.

Whether you agree or disagree with Villeneuve’s views, you cannot deny his passion and his conviction. He is a filmmaker who loves and respects cinema, and who wants to make and to see cinema that is true and that is beautiful.