The second one hears Christoffer Boe describe Carl Theodor Dreyer’s filmmaking as building churches is the moment that it all makes sense. The master Danish film director did precisely that: he built monumental structures in which the spiritual and the human meet, rich cinematic churches that lead you into a world within this world.
Carl Theodor Dreyer stands among those directors like Robert Bresson and Andrei Tarkovsky, filmmakers who somehow are out of this world and yet touch upon it with an elegant simplicity that affirms their expanding understanding of life.
In this regard, Christoffer Boe again states something very true:
He is in touch and out of touch with time at all times. He was out of time when he made [his films], and he is out of time now, and he is very much something that you can look at and feel inspired as a director but also as a human being right now.
Back in university and film school, we grew up watching films by somebody who was totally uncompromising, compared to the films of that time, where it was a bit more about entertaining the audience, making them laugh, and competing with television. He set an example being uncompromising, being not very kind to the actors, and daring to be extremely simple, crisp, courageous. - Lone Scherfig
What you can learn from him is basically that when you work as a film artist, you have to choose your style, and then you have to stick to it. All through the film, everyday, you have to stick to the style you choose. Dreyer did that. Very, very, almost anal, was he choosing his style. If you see the close up style in Jean d'Arc or the way he worked with shadow and light in Day of Wrath, you can see how this conscious of style is amazing. You didn’t see that in almost any film artist at that point. That’s basically what makes him a gigantic artist. - Ole Christian Madsen