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American filmmaker David Lynch said multiple times that Billy Wilder's classic film noir “Sunset Boulevard” (1950) is one of the films that shaped his artistic vision more than any other. When he said “I want a dream when I go to a film. Sunset Boulevard has that dream world...

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The family of a father is speaking out after they say he was detained by federal immigration agents while working at a car wash in Anaheim. "That morning, my dad had told me that he had a dream. He had a dream that ICE came to his job," said one of Gilberto Gomez-Garcia's children, Andrea. That dream, hours later, turned into a nightmare as the Anaheim car wash where he works on State College Boulevard and La Palma Avenue was raided by federal immigration agents on July 3.
1:13

The family of a father is speaking out after they say he was detained by federal immigration agents while working at a car wash in Anaheim. "That morning, my dad had told me that he had a dream. He had a dream that ICE came to his job," said one of Gilberto Gomez-Garcia's children, Andrea. That dream, hours later, turned into a nightmare as the Anaheim car wash where he works on State College Boulevard and La Palma Avenue was raided by federal immigration agents on July 3.

ABC7 Eyewitness News

23,565 görüntüleme • 1 yıl önce

After completing "Some Like it Hot" (1959), Billy Wilder wanted to make a film on the idea he had from around the 1940s. He wanted to make a film about the unseen character in David Lean's "Brief Encounter" (1945) who loans the apartment for the rendezvous of the main characters. He always thought there was a funny and touching character there to explore. He wanted to work with Jack Lemmon again after "Some Like it Hot" and thought he would be perfect for this role. According to Jack Lemmon, he was offered the role by Wilder, when they were on the way to a private screening of "Some Like it Hot" in a car. ("On Sunset Boulevard: The Life and Times of Billy Wilder", Ed Sikov, 1998) P.S: On this day, 66 years ago, "The Apartment" (1960) New York City & San Francisco, USA.
2:16

After completing "Some Like it Hot" (1959), Billy Wilder wanted to make a film on the idea he had from around the 1940s. He wanted to make a film about the unseen character in David Lean's "Brief Encounter" (1945) who loans the apartment for the rendezvous of the main characters. He always thought there was a funny and touching character there to explore. He wanted to work with Jack Lemmon again after "Some Like it Hot" and thought he would be perfect for this role. According to Jack Lemmon, he was offered the role by Wilder, when they were on the way to a private screening of "Some Like it Hot" in a car. ("On Sunset Boulevard: The Life and Times of Billy Wilder", Ed Sikov, 1998) P.S: On this day, 66 years ago, "The Apartment" (1960) New York City & San Francisco, USA.

DepressedBergman

23,913 görüntüleme • 2 ay önce

Martin Scorsese explains 'What makes a film personal?': "I come from a tradition in the early sixties that had to do with more personal filmmaking, with themes and subject matter that you felt more confident dealing with—about yourself, about the world you came from. That kind of cinema flourished in the seventies, but since the eighties, there’s been consistently less of that in mainstream cinema. Now I even find that some of the independents are starting to show a trend toward melodrama and film noir, which indicates that they’re getting their eyes set on a more commercial aspect of cinema. When I see low-budget films today, I often feel that the directors are trying to audition for the studios. You might ask, “Why do films have to be personal, anyway?” Well, of course, it’s all a matter of opinion, but I tend to feel that the more singular the vision and the more personal the film, the more it can claim to be art. As a spectator, I find that when they’re more personal, films last longer. You can watch them over and over again, whereas with a more commercial film, you might get bored after two showings. So what makes a film personal? Do you have to write the script yourself to make the film yours, as the auteur theory claimed? Not necessarily. I think there’s kind of a twofold situation there. I think you have to make a distinction between the directors on one side and the filmmakers on the other. The directors—and they can excel at doing that—are people who only interpret the script, who just turn it from words into images. The filmmakers, however, will be able to take somebody else’s material and still manage to have a personal vision come through. They will shoot the film or direct actors in a manner that will eventually transform that film so that it becomes part of the body of work of their other films, with similar themes and approaches to material and characterization. That’s what makes the whole difference between, for instance, 'His Girl Friday' (1938) by Howard Hawks and 'Dream Wife' (1953) by Sidney Sheldon. Both are studio movies; both are comedies starring Cary Grant. And yet you can watch the first one repeatedly, whereas the second one, although pleasant, will not stand a second showing. And that’s also what makes the difference between a John Woo movie, which is always very personal, and, let’s say, the Batman sequels, which may be well crafted but could have been directed by anybody." ("Moviemakers' Masterclass", Laurent Tirard, interview conducted in 1997)
2:18

Martin Scorsese explains 'What makes a film personal?': "I come from a tradition in the early sixties that had to do with more personal filmmaking, with themes and subject matter that you felt more confident dealing with—about yourself, about the world you came from. That kind of cinema flourished in the seventies, but since the eighties, there’s been consistently less of that in mainstream cinema. Now I even find that some of the independents are starting to show a trend toward melodrama and film noir, which indicates that they’re getting their eyes set on a more commercial aspect of cinema. When I see low-budget films today, I often feel that the directors are trying to audition for the studios. You might ask, “Why do films have to be personal, anyway?” Well, of course, it’s all a matter of opinion, but I tend to feel that the more singular the vision and the more personal the film, the more it can claim to be art. As a spectator, I find that when they’re more personal, films last longer. You can watch them over and over again, whereas with a more commercial film, you might get bored after two showings. So what makes a film personal? Do you have to write the script yourself to make the film yours, as the auteur theory claimed? Not necessarily. I think there’s kind of a twofold situation there. I think you have to make a distinction between the directors on one side and the filmmakers on the other. The directors—and they can excel at doing that—are people who only interpret the script, who just turn it from words into images. The filmmakers, however, will be able to take somebody else’s material and still manage to have a personal vision come through. They will shoot the film or direct actors in a manner that will eventually transform that film so that it becomes part of the body of work of their other films, with similar themes and approaches to material and characterization. That’s what makes the whole difference between, for instance, 'His Girl Friday' (1938) by Howard Hawks and 'Dream Wife' (1953) by Sidney Sheldon. Both are studio movies; both are comedies starring Cary Grant. And yet you can watch the first one repeatedly, whereas the second one, although pleasant, will not stand a second showing. And that’s also what makes the difference between a John Woo movie, which is always very personal, and, let’s say, the Batman sequels, which may be well crafted but could have been directed by anybody." ("Moviemakers' Masterclass", Laurent Tirard, interview conducted in 1997)

DepressedBergman

46,668 görüntüleme • 1 yıl önce

According to co-writer and director David Lynch, the first scene in the film is based on an incident that occurred in his own life. He claims his intercom buzzed early one morning and when he answered it, a voice on the other end that he didn't recognize said, "Dick Laurant is d*ad." However, by the time he got to the front of the house to look out the window, there was no one outside. - 📽️: Lost Highway(1997) Dir. David Lynch
1:23

According to co-writer and director David Lynch, the first scene in the film is based on an incident that occurred in his own life. He claims his intercom buzzed early one morning and when he answered it, a voice on the other end that he didn't recognize said, "Dick Laurant is d*ad." However, by the time he got to the front of the house to look out the window, there was no one outside. - 📽️: Lost Highway(1997) Dir. David Lynch

Love Classical Music and Movies 🎺🎻💖🎥🎬

237,945 görüntüleme • 8 ay önce

Dream aka the Sandman is one of the oldest and most powerful beings in existence. His power is split in four. What is currently in his body and in 3 items that was stolen from him. Dream is in charge of how we percieve reality, and of the realm of dreams. His dimension is currently getting pretty wrecked and. it threatens to spill over into a multidimensional war. That would also mean no human being could rest properly. Dream NEEDS his power to stop his own realm from collapsing. Dream is also a sort of “buffer” deity between Heaven and Hell. And with him gone they want to settle the score on Earth.
0:58

Dream aka the Sandman is one of the oldest and most powerful beings in existence. His power is split in four. What is currently in his body and in 3 items that was stolen from him. Dream is in charge of how we percieve reality, and of the realm of dreams. His dimension is currently getting pretty wrecked and. it threatens to spill over into a multidimensional war. That would also mean no human being could rest properly. Dream NEEDS his power to stop his own realm from collapsing. Dream is also a sort of “buffer” deity between Heaven and Hell. And with him gone they want to settle the score on Earth.

DailyFacts 🕸️

188,719 görüntüleme • 1 yıl önce

I created an AI short film — Infinite Frames. A love letter to cinema — a tribute to the films that shaped me. I’ve always believed film is never just entertainment. It’s a portal to parallel universes. In my most confused and lonely moments, I found answers within the frame. Cinema not only extends my life and expands my world, but also teaches me courage — and how to build my own world between reality and dream. This time, I used Nami AI’s newly launched Nami Story to create this film — not as a tech demo, but as a sincere love letter to cinema. The story follows 17-year-old EDEN, who escapes a dull reality by following a mysterious cat across multiple universes. Through love, battle, doubt, and rupture, she begins to see — and break — herself, until she realizes she is no longer pushed by the world, but capable of shaping her own destiny.
6:38

I created an AI short film — Infinite Frames. A love letter to cinema — a tribute to the films that shaped me. I’ve always believed film is never just entertainment. It’s a portal to parallel universes. In my most confused and lonely moments, I found answers within the frame. Cinema not only extends my life and expands my world, but also teaches me courage — and how to build my own world between reality and dream. This time, I used Nami AI’s newly launched Nami Story to create this film — not as a tech demo, but as a sincere love letter to cinema. The story follows 17-year-old EDEN, who escapes a dull reality by following a mysterious cat across multiple universes. Through love, battle, doubt, and rupture, she begins to see — and break — herself, until she realizes she is no longer pushed by the world, but capable of shaping her own destiny.

Junie Lau

39,507 görüntüleme • 6 ay önce

On Founder’s Day, I find myself reflecting on the sheer audacity of Osagyefo Dr. Kwame Nkrumah’s vision. It’s one thing to read about it, but another to truly grasp that he was imagining a future for Ghana that even today feels ambitious. He dreamt of dams, highways, and industries at a time when many couldn’t see past the immediate horizon. It’s humbling to realize that the criticisms he faced were often from those who couldn’t comprehend the scale of his dream. Today, we live in that dream. We drive on his roads, draw power from his dam, and are educated in the institutions he established. His work wasn’t just construction; it was an act of faith in the future of Ghana, a faith that has been profoundly vindicated. His legacy is not just a chapter in a history book; it’s the foundation we stand on. The question for us now is: how do we build upon it? #FoundersDay
2:35

On Founder’s Day, I find myself reflecting on the sheer audacity of Osagyefo Dr. Kwame Nkrumah’s vision. It’s one thing to read about it, but another to truly grasp that he was imagining a future for Ghana that even today feels ambitious. He dreamt of dams, highways, and industries at a time when many couldn’t see past the immediate horizon. It’s humbling to realize that the criticisms he faced were often from those who couldn’t comprehend the scale of his dream. Today, we live in that dream. We drive on his roads, draw power from his dam, and are educated in the institutions he established. His work wasn’t just construction; it was an act of faith in the future of Ghana, a faith that has been profoundly vindicated. His legacy is not just a chapter in a history book; it’s the foundation we stand on. The question for us now is: how do we build upon it? #FoundersDay

Ken O. Agyapong

16,426 görüntüleme • 11 ay önce

Paul Verhoeven on whether the events that take place in "Total Recall" (1990) are real or just a dream: "It is both. To be honest, that’s what I want. I made the movie in a way that it would be true on both levels, and I spent a lot of time to get that. If you want a scientific explanation, you know, of course, in quantum mechanics there is a very interesting principle, the principle of uncertainty, Heisenberg’s principle. If you have a big object and if you try to measure the place of the object and the velocity of the object at the same time, the more precisely you measure velocity the less precise place gets. So that’s the principle. That means, of course, that there are different realities possible at the same moment. What I wanted to do in 'Total Recall' is to do a movie where both levels are true. I mean for me, of course, the film anyhow has to do with two realities, one being the reality of going as a secret agent to Mars and discovering that there is a problem, and solving the problem, which is starting the nuclear reactor and helping the guerrillas and destroying Cohaagen. The second level of the movie, of course, is that from the moment that he goes into the Rekall chair ‘til the end it’s a dream, and I tried to make that second level work throughout the whole movie. So there’s the dream level which starts when he gets into the chair and the thing is in his neck, and that would go throughout the whole movie, so in the next scene where they say, Oh, there’s a problem, there’s a big glitch here, that would be already the dream, of course. That’s where the dream starts. And the next scene where they are fighting and stuff would be part of his dream, convincing him that it is real, because there is a glitch but that would be part of the program. It would be built into the program to make him accept the fact that it’s real, but it’s a dream. If you look at the movie, if you haven’t seen it, or for the second time, you’ll see that the whole program that’s set up at the beginning when he goes to the Rekall office and he talks to this guy who sells him the program on Mars, you’ll see that he gets everything that he wants: he gets the trip to Mars, he gets the girl, the exotic girl, he ki!!s the bad guys, and he saves the entire planet. That’s what he does. And that’s basically the dream. Even halfway through the movie, you may remember, this other guy comes in, Dr. Edgemar, and tells him that he’s in a dream, that he’s still in the Rekall chair, and then Arnold says, “If I’m there, I can ki!! you.” And he puts a gun to his head and the guy says, “Sure, no problem for me, big problem for you, because you will be psychotic from now on because the walls of reality will fall apart. One moment you will be the savior of the rebel cause, the next moment you’ll be Cohaagen’s bosom buddy, but in the end—you will even have these strange fantasies about alien civilizations—but at the end you will be lobotomized.” And then if you see the movie, you realize that all these things happen. I mean he is lobotomized at the end. That’s why at the last shot, when they are so happy and kissing each other, it slowly fades to white, which for me meant, “OK, there he goes. That’s the end-that’s the dream—they lobotomized him.” And all the other things happened, he finds the alien civilization, he rescues the planet, he finds the good girl, he k!!ls the bad guys, but it’s a dream. Now, of course you can see it as a reality, too. So at the end of the movie, getting to white means either it’s a happy ending or he loses his brains . . . which is probably also a happy ending, I don’t know. That was basically what l wanted—that at the end there would be two possibilities, and they would be both true—for me they are both true—it’s not either one or the other. It’s not that either it’s a dream or it is a reality. It is a dream and it is a reality. And I think they’re both there." (Paul Verhoeven's interview with Chris Shea & Wade Jennings, 1992) P.S: On this day, 36 years ago, "Total Recall" (1990) premiered in Los Angeles, California, USA.
1:25

Paul Verhoeven on whether the events that take place in "Total Recall" (1990) are real or just a dream: "It is both. To be honest, that’s what I want. I made the movie in a way that it would be true on both levels, and I spent a lot of time to get that. If you want a scientific explanation, you know, of course, in quantum mechanics there is a very interesting principle, the principle of uncertainty, Heisenberg’s principle. If you have a big object and if you try to measure the place of the object and the velocity of the object at the same time, the more precisely you measure velocity the less precise place gets. So that’s the principle. That means, of course, that there are different realities possible at the same moment. What I wanted to do in 'Total Recall' is to do a movie where both levels are true. I mean for me, of course, the film anyhow has to do with two realities, one being the reality of going as a secret agent to Mars and discovering that there is a problem, and solving the problem, which is starting the nuclear reactor and helping the guerrillas and destroying Cohaagen. The second level of the movie, of course, is that from the moment that he goes into the Rekall chair ‘til the end it’s a dream, and I tried to make that second level work throughout the whole movie. So there’s the dream level which starts when he gets into the chair and the thing is in his neck, and that would go throughout the whole movie, so in the next scene where they say, Oh, there’s a problem, there’s a big glitch here, that would be already the dream, of course. That’s where the dream starts. And the next scene where they are fighting and stuff would be part of his dream, convincing him that it is real, because there is a glitch but that would be part of the program. It would be built into the program to make him accept the fact that it’s real, but it’s a dream. If you look at the movie, if you haven’t seen it, or for the second time, you’ll see that the whole program that’s set up at the beginning when he goes to the Rekall office and he talks to this guy who sells him the program on Mars, you’ll see that he gets everything that he wants: he gets the trip to Mars, he gets the girl, the exotic girl, he ki!!s the bad guys, and he saves the entire planet. That’s what he does. And that’s basically the dream. Even halfway through the movie, you may remember, this other guy comes in, Dr. Edgemar, and tells him that he’s in a dream, that he’s still in the Rekall chair, and then Arnold says, “If I’m there, I can ki!! you.” And he puts a gun to his head and the guy says, “Sure, no problem for me, big problem for you, because you will be psychotic from now on because the walls of reality will fall apart. One moment you will be the savior of the rebel cause, the next moment you’ll be Cohaagen’s bosom buddy, but in the end—you will even have these strange fantasies about alien civilizations—but at the end you will be lobotomized.” And then if you see the movie, you realize that all these things happen. I mean he is lobotomized at the end. That’s why at the last shot, when they are so happy and kissing each other, it slowly fades to white, which for me meant, “OK, there he goes. That’s the end-that’s the dream—they lobotomized him.” And all the other things happened, he finds the alien civilization, he rescues the planet, he finds the good girl, he k!!ls the bad guys, but it’s a dream. Now, of course you can see it as a reality, too. So at the end of the movie, getting to white means either it’s a happy ending or he loses his brains . . . which is probably also a happy ending, I don’t know. That was basically what l wanted—that at the end there would be two possibilities, and they would be both true—for me they are both true—it’s not either one or the other. It’s not that either it’s a dream or it is a reality. It is a dream and it is a reality. And I think they’re both there." (Paul Verhoeven's interview with Chris Shea & Wade Jennings, 1992) P.S: On this day, 36 years ago, "Total Recall" (1990) premiered in Los Angeles, California, USA.

DepressedBergman

66,465 görüntüleme • 3 ay önce

I had a dream. A dream about a CEO of a hypothetical company. Attacked by imaginary market manipulators for years. I had a dream he and his investors took the crooks to court. I dreamed the judge said in his judgement: “The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men.” “Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of darkness, for he is truly his brother's keeper and the finder of lost children.” “And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers.” “And you will know my name is the Lord when I lay my vengeance upon thee.” The judge’s sentence was swift, sudden and final. That was my dream. Or maybe I dreamed it was a dream. "We need men who can dream of things that never were.” - John F Kennedy “But I dream things that never were; and I say 'Why not?” - George Bernard Shaw
0:48

I had a dream. A dream about a CEO of a hypothetical company. Attacked by imaginary market manipulators for years. I had a dream he and his investors took the crooks to court. I dreamed the judge said in his judgement: “The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men.” “Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of darkness, for he is truly his brother's keeper and the finder of lost children.” “And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers.” “And you will know my name is the Lord when I lay my vengeance upon thee.” The judge’s sentence was swift, sudden and final. That was my dream. Or maybe I dreamed it was a dream. "We need men who can dream of things that never were.” - John F Kennedy “But I dream things that never were; and I say 'Why not?” - George Bernard Shaw

Roger James Hamilton

21,195 görüntüleme • 9 ay önce

Timothée Chalamet discusses the promotion for ‘MARTY SUPREME’ and his vision for the industry. “My focus is on releasing the film Marty Supreme, like all my films, in the biggest way possible. France has a great film culture—not every country in the world does—so I’m trying to keep cinema alive. And keeping cinema alive isn’t about trying to win awards; it’s about being part of everyday life, doing pop-up films, doing 'Crank That (Soulja Boy)' in Brazil, and giving it my all. I want to live and breathe cinema. I want everyone in the film industry to succeed—all my contemporaries, from Zendaya to Pierre Niney. I just want everything to work out."
0:36

Timothée Chalamet discusses the promotion for ‘MARTY SUPREME’ and his vision for the industry. “My focus is on releasing the film Marty Supreme, like all my films, in the biggest way possible. France has a great film culture—not every country in the world does—so I’m trying to keep cinema alive. And keeping cinema alive isn’t about trying to win awards; it’s about being part of everyday life, doing pop-up films, doing 'Crank That (Soulja Boy)' in Brazil, and giving it my all. I want to live and breathe cinema. I want everyone in the film industry to succeed—all my contemporaries, from Zendaya to Pierre Niney. I just want everything to work out."

timothée chalamet nation

281,452 görüntüleme • 6 ay önce

Orson Welles on the reason he chose to make "The Trial" (1962) & deviating from Kafka's work: "Interviewer: In the transposition of 'The Trial' to the cinema, there is a fundamental change; in Kafka’s book, K’s character is more passive than in the film. Welles: I made him more active, properly speaking. I do not believe that passive characters are appropriate to drama. I have nothing against Antonioni, for example, but, in order to interest me, the characters must do something, from a dramatic point of view, you understand. Interviewer: Was 'The Trial' an old project? Welles: I once said that a good film could be drawn from the novel, but I, myself, didn’t think of doing it. A man came to see me and told me he believed he could find money so that I could make a film in France. He gave me a list of films and asked that I choose. And from that list of fifteen films I chose the one that, I believe, was the best: The Trial. Since I couldn’t do a film written by myself, I chose Kafka." (Orson Welles' intervie with Juan Cobos, Miguel Rubio & Pruneda, Cahiers du Cinéma, 1964)
1:43

Orson Welles on the reason he chose to make "The Trial" (1962) & deviating from Kafka's work: "Interviewer: In the transposition of 'The Trial' to the cinema, there is a fundamental change; in Kafka’s book, K’s character is more passive than in the film. Welles: I made him more active, properly speaking. I do not believe that passive characters are appropriate to drama. I have nothing against Antonioni, for example, but, in order to interest me, the characters must do something, from a dramatic point of view, you understand. Interviewer: Was 'The Trial' an old project? Welles: I once said that a good film could be drawn from the novel, but I, myself, didn’t think of doing it. A man came to see me and told me he believed he could find money so that I could make a film in France. He gave me a list of films and asked that I choose. And from that list of fifteen films I chose the one that, I believe, was the best: The Trial. Since I couldn’t do a film written by myself, I chose Kafka." (Orson Welles' intervie with Juan Cobos, Miguel Rubio & Pruneda, Cahiers du Cinéma, 1964)

DepressedBergman

24,636 görüntüleme • 1 ay önce

"F.W Murnau’s 'Nosferatu' (1922) is the most visionary film in all of German cinema. It’s a premonitory film that prophesized the arrival of Nazism with its depiction of the invasion of Germany through Dracula & his plague-infected rats." --- Werner Herzog Full Excerpt: "I did not want to remake 'Nosferatu'. My film stands entirely on its own. It is a completely new version that we’re dealing with here. The context and the characters are different, and the story is somewhat different. But you’re right, I feel very close to Murnau. He is my favorite German director. In fact, I rank him well above Fritz Lang. He sees things much too geometrically. Murnau’s 'Nosferatu', made in 1922, is the most visionary film in all of German cinema. It’s a premonitory film that prophesized the arrival of Nazism with its depiction of the invasion of Germany through Dracula and his plague-infected rats. He gave German cinema a legitimacy that was lost during the Hitler era. That is why the film has taken on such importance for me. We belong to a generation of orphan filmmakers with no recourse to tradition, with nothing to fall back on. There is no equivalent in France, the Soviet Union, or Italy, where they were able to secure cultural continuity. In Germany, by contrast, there was a hiatus, an emptiness that nothing will ever fill. Before the war, we had important philosophers, composers, and mathematicians. All that came crashing down. The missing links in the chain can never be replaced. But a certain affinity exists between our current cinema and that of the twenties. It is not so much about a similarity in style as it is a similarity in attitudes toward film production. There is a collective way of envisioning cinema as an art, as a serious mode of expression." (Excerpt from Werner Herzog's interview with Simon Mizrahi, 1979)
0:34

"F.W Murnau’s 'Nosferatu' (1922) is the most visionary film in all of German cinema. It’s a premonitory film that prophesized the arrival of Nazism with its depiction of the invasion of Germany through Dracula & his plague-infected rats." --- Werner Herzog Full Excerpt: "I did not want to remake 'Nosferatu'. My film stands entirely on its own. It is a completely new version that we’re dealing with here. The context and the characters are different, and the story is somewhat different. But you’re right, I feel very close to Murnau. He is my favorite German director. In fact, I rank him well above Fritz Lang. He sees things much too geometrically. Murnau’s 'Nosferatu', made in 1922, is the most visionary film in all of German cinema. It’s a premonitory film that prophesized the arrival of Nazism with its depiction of the invasion of Germany through Dracula and his plague-infected rats. He gave German cinema a legitimacy that was lost during the Hitler era. That is why the film has taken on such importance for me. We belong to a generation of orphan filmmakers with no recourse to tradition, with nothing to fall back on. There is no equivalent in France, the Soviet Union, or Italy, where they were able to secure cultural continuity. In Germany, by contrast, there was a hiatus, an emptiness that nothing will ever fill. Before the war, we had important philosophers, composers, and mathematicians. All that came crashing down. The missing links in the chain can never be replaced. But a certain affinity exists between our current cinema and that of the twenties. It is not so much about a similarity in style as it is a similarity in attitudes toward film production. There is a collective way of envisioning cinema as an art, as a serious mode of expression." (Excerpt from Werner Herzog's interview with Simon Mizrahi, 1979)

DepressedBergman

26,190 görüntüleme • 1 yıl önce

Denis Villeneuve met Roger Deakins for the first time at the Academy Awards when he was nominated for "Incendies" (2010) & Roger Deakins for "True Grit" (2010). Deakins told Villeneuve that he loved "Incendies". Because of that, Deakins saw the older movies of Villeneuve. When Deakins was looking for a movie to work in, he got the script of "Prisoners" (2013) & had heard that Villeneuve was going to direct it. So, he immediately decided to work in the movie. Villeneuve said, "Deakins was looking for something to do and he said that when he read “Prisoners” he said, “I want to work with that director,” which is honestly the biggest compliment I’ve ever received. It was a dream for me to work with such a master. I never thought in my life or dared to dream that I’d make a movie with Roger Deakins one day. I think he was available at that period of time and he loved the script and he loved “Incendies” and we met and that was it. It was a very beautiful cinematic experience for me–I learned so much." Deakins wasn't very much a fan of the gothic elements in the movie and the genre, but he loved the script for its emphasis on character and performance. He felt that the dramatic success of "Prisoners" rests on the acting. Deakins said, "I heard Denis was doing this movie and got the script, which was dense and had a lot of characters, and, to be honest, Gothic elements that I thought went too far. I wasn’t interested in that genre, but it turned out that Denis wasn’t, either. We did end up shooting the script, but it was always his intention that the final cut of the film wouldn’t feature those elements.” P.S: On this day, 13 years ago, "Prisoners" (2013) premiered at the Telluride Film Festival, USA.
1:18

Denis Villeneuve met Roger Deakins for the first time at the Academy Awards when he was nominated for "Incendies" (2010) & Roger Deakins for "True Grit" (2010). Deakins told Villeneuve that he loved "Incendies". Because of that, Deakins saw the older movies of Villeneuve. When Deakins was looking for a movie to work in, he got the script of "Prisoners" (2013) & had heard that Villeneuve was going to direct it. So, he immediately decided to work in the movie. Villeneuve said, "Deakins was looking for something to do and he said that when he read “Prisoners” he said, “I want to work with that director,” which is honestly the biggest compliment I’ve ever received. It was a dream for me to work with such a master. I never thought in my life or dared to dream that I’d make a movie with Roger Deakins one day. I think he was available at that period of time and he loved the script and he loved “Incendies” and we met and that was it. It was a very beautiful cinematic experience for me–I learned so much." Deakins wasn't very much a fan of the gothic elements in the movie and the genre, but he loved the script for its emphasis on character and performance. He felt that the dramatic success of "Prisoners" rests on the acting. Deakins said, "I heard Denis was doing this movie and got the script, which was dense and had a lot of characters, and, to be honest, Gothic elements that I thought went too far. I wasn’t interested in that genre, but it turned out that Denis wasn’t, either. We did end up shooting the script, but it was always his intention that the final cut of the film wouldn’t feature those elements.” P.S: On this day, 13 years ago, "Prisoners" (2013) premiered at the Telluride Film Festival, USA.

DepressedBergman

22,013 görüntüleme • 5 gün önce

Quentin Tarantino is such a good storyteller, that his own story of the day he decided to make film is gold. In his early-20s, he worked at a video store. His dream was to be a director but this job was “dream-adjacent”, which put his “real ambition to sleep”. It all changed when an older guy in his friend group — about 5 years older — turned 30 and suddenly became quite bitter about how he hadn’t achieved much in his 20s. Quentin and his friend would hang out and talk film but didn’t actually make anything. When Quentn turned 25, he realized he didn’t want to be like his friend at 30. So, he spent one night fully assessing the state of his life and decided he had to make a change. “I got to not worry about [this video store] job anymore,” he thought. “I just got to move to Hollywood and get involved and meet other people that are in the business.” He did and soon started getting writing gigs. At 27, he sold the script for “True Romance” for $50k. At 29, he directed “Resevoir Dogs”. And on the day he turned 32, Quentin won a Best Original Screenplay Oscar for “Pulp Fiction”.
9:27

Quentin Tarantino is such a good storyteller, that his own story of the day he decided to make film is gold. In his early-20s, he worked at a video store. His dream was to be a director but this job was “dream-adjacent”, which put his “real ambition to sleep”. It all changed when an older guy in his friend group — about 5 years older — turned 30 and suddenly became quite bitter about how he hadn’t achieved much in his 20s. Quentin and his friend would hang out and talk film but didn’t actually make anything. When Quentn turned 25, he realized he didn’t want to be like his friend at 30. So, he spent one night fully assessing the state of his life and decided he had to make a change. “I got to not worry about [this video store] job anymore,” he thought. “I just got to move to Hollywood and get involved and meet other people that are in the business.” He did and soon started getting writing gigs. At 27, he sold the script for “True Romance” for $50k. At 29, he directed “Resevoir Dogs”. And on the day he turned 32, Quentin won a Best Original Screenplay Oscar for “Pulp Fiction”.

Trung Phan

270,344 görüntüleme • 1 yıl önce

NEW: Riverside County Sheriff Chad Bianco announces his run for California governor, says CA is a "laughing stock" that he hopes to correct. In June, Bianco announced that he was "changing teams" and voting for Trump after being disgusted by his state. (video below) "I came to California in 1989 in search of the California Dream. I got a job, I bought a house, I married a beauty queen, and I raised a family," said Bianco this week. "Unfortunately for my kids, destructive policies, legal agendas, government overreach and regulation, radical activism and special interests have turned the California dream into a nightmare for millions of Californians." "Today, we fire up the machine that will restore the promise to all Californians that the dream is still alive."
2:35

NEW: Riverside County Sheriff Chad Bianco announces his run for California governor, says CA is a "laughing stock" that he hopes to correct. In June, Bianco announced that he was "changing teams" and voting for Trump after being disgusted by his state. (video below) "I came to California in 1989 in search of the California Dream. I got a job, I bought a house, I married a beauty queen, and I raised a family," said Bianco this week. "Unfortunately for my kids, destructive policies, legal agendas, government overreach and regulation, radical activism and special interests have turned the California dream into a nightmare for millions of Californians." "Today, we fire up the machine that will restore the promise to all Californians that the dream is still alive."

Collin Rugg

499,738 görüntüleme • 1 yıl önce

I just watched the Kanye Netflix documentary again and I cannot get it out of my head how Kanye was never willing to give up Follow his journey: He was used by his rap “friends” who only wanted his quality beats for free. He was held back every time he tried to step into his own vision of becoming a rapper. He faced rejection after rejection But Kanye never quit. He refused to lose He refused to take the safer path. He believed in himself completely. And that belief is what he projected into the world. A level of optimism and confidence in his own ability that proved you can achieve anything The same truth applies to you and me The giant who looks in the mirror sees nothing Understand that you are special with unique knowledge and real talent. The things that excite you are the things that make life worth living Go after your dreams Refuse to lose
0:51

I just watched the Kanye Netflix documentary again and I cannot get it out of my head how Kanye was never willing to give up Follow his journey: He was used by his rap “friends” who only wanted his quality beats for free. He was held back every time he tried to step into his own vision of becoming a rapper. He faced rejection after rejection But Kanye never quit. He refused to lose He refused to take the safer path. He believed in himself completely. And that belief is what he projected into the world. A level of optimism and confidence in his own ability that proved you can achieve anything The same truth applies to you and me The giant who looks in the mirror sees nothing Understand that you are special with unique knowledge and real talent. The things that excite you are the things that make life worth living Go after your dreams Refuse to lose

conduct|r

767,595 görüntüleme • 9 ay önce

Ethan Hawke says he found Robin Williams hiding alone in the dark on the Dead Poets Society set “Even at 18 I was aware of the complexity of his emotional life” “I’ve had a lot of depression in my family, and it was obvious to me that all that power and that charisma came at a certain cost” “It’s a deeply, deeply sensitive person who was highly attuned to the energy of a room” “I remember once he was making up lines and everybody’s laughing, everybody’s praising him, and then I went to get a glass of water, get a bagel or something” “And I saw him hiding in a little corner. He was hiding in the dark by himself” “Okay, it makes a lot more sense to me now, actually. It was a lot. It was taxing” “There’s a lot of stories about clowns, and the happiness that they give and at what cost” Interviewer: “How much that takes out of them” Ethan: “The end of his life does not define his life to me. When I watch the movie, I think of the spirit of the man that I knew on those days, and how powerful it was, and how much he weathered that storm of his own psyche for us and for other people” “And I admire him tremendously. You know, there aren’t two of him”
1:43

Ethan Hawke says he found Robin Williams hiding alone in the dark on the Dead Poets Society set “Even at 18 I was aware of the complexity of his emotional life” “I’ve had a lot of depression in my family, and it was obvious to me that all that power and that charisma came at a certain cost” “It’s a deeply, deeply sensitive person who was highly attuned to the energy of a room” “I remember once he was making up lines and everybody’s laughing, everybody’s praising him, and then I went to get a glass of water, get a bagel or something” “And I saw him hiding in a little corner. He was hiding in the dark by himself” “Okay, it makes a lot more sense to me now, actually. It was a lot. It was taxing” “There’s a lot of stories about clowns, and the happiness that they give and at what cost” Interviewer: “How much that takes out of them” Ethan: “The end of his life does not define his life to me. When I watch the movie, I think of the spirit of the man that I knew on those days, and how powerful it was, and how much he weathered that storm of his own psyche for us and for other people” “And I admire him tremendously. You know, there aren’t two of him”

sara

70,833 görüntüleme • 19 gün önce

Francois Truffaut on Jean-Luc Godard: "Godard makes two or three movies a year, because he works like a painter. For him, what counts is not a single movie, but the work he has done during a certain artistic period. What I admire most in his films (although he can, if he wants to, show that he is visually one of the world’s best directors) is the beauty of his dialogues. He started making movies at the time when we all discovered Bergman, who liberated dialogue, that is, he showed us that the characters need only express what the director wants them to. There is no need to concern oneself with their psychology, or their social situation, or the plot. And Godard has secrets, you know, he never has a character go out a door and into the street. His characters go out a door, turn to the left, retrace their steps, and then go into the street. They put a cigarette into their mouth, take it out, put it back in, light it, and when it’s lit, throw it away. He is the only one who is able to express the instability of life. And he has also done away with the notion of characters who are likable or not likable, because in his films there are no feelings. Godard is certainly the most imitated director in the world, and people say, ‘He opened the doors,’ but I don’t think so. I think he opened the doors for him, just as it’s very dangerous to imitate Orson Welles by placing the camera on the ground. That’s O.K. for him but not for the rest of us." (Truffaut's interview with Sanche De Gramont, 1969) Clip from: Masculin Féminin (1966) Director: Jean-Luc Godard
1:41

Francois Truffaut on Jean-Luc Godard: "Godard makes two or three movies a year, because he works like a painter. For him, what counts is not a single movie, but the work he has done during a certain artistic period. What I admire most in his films (although he can, if he wants to, show that he is visually one of the world’s best directors) is the beauty of his dialogues. He started making movies at the time when we all discovered Bergman, who liberated dialogue, that is, he showed us that the characters need only express what the director wants them to. There is no need to concern oneself with their psychology, or their social situation, or the plot. And Godard has secrets, you know, he never has a character go out a door and into the street. His characters go out a door, turn to the left, retrace their steps, and then go into the street. They put a cigarette into their mouth, take it out, put it back in, light it, and when it’s lit, throw it away. He is the only one who is able to express the instability of life. And he has also done away with the notion of characters who are likable or not likable, because in his films there are no feelings. Godard is certainly the most imitated director in the world, and people say, ‘He opened the doors,’ but I don’t think so. I think he opened the doors for him, just as it’s very dangerous to imitate Orson Welles by placing the camera on the ground. That’s O.K. for him but not for the rest of us." (Truffaut's interview with Sanche De Gramont, 1969) Clip from: Masculin Féminin (1966) Director: Jean-Luc Godard

DepressedBergman

143,754 görüntüleme • 1 yıl önce

James Stewart on what makes a great film performance: In a 1972 BBC interview, the legendary actor was asked how he approaches biographical roles like Glenn Miller and Charles Lindbergh. His answer revealed a philosophy he'd developed over decades in Hollywood. "You have to make a thing believable without using the device of acting. And that doesn't make any sense at all." But then he explained what he meant: "Over the years, I've developed a theory. I'm getting to believe that in films, what everybody is striving for is to produce moments. Not a performance, not a characterization, not something that you get into the part and it's you. You produce moments that create a feeling of believability to what you're doing." Stewart admitted these moments aren't guaranteed. "Sometimes it doesn't go, nothing happens." To illustrate, he shared a story about director Billy Wilder, who was famous for shooting take after take. In one important scene, Wilder had already done 30 takes when one of the actors finally asked what they were doing wrong. Wilder's response: "No, you're doing it fine. I'm just waiting for something to happen." That, Stewart said, is what creating moments looks like in practice. You can't force it. You set the conditions and wait. He then offered a second piece of evidence for his theory, drawn from his interactions with fans over the years: "People will come up to me and say, 'Boy, I like that picture you did.' Now they won't remember the name of the picture. They won't remember where they saw it. They won't remember who was in it or who directed it. But they said, 'You know, that picture. You were in this room and you were some kind of a lawyer or something and this fellow was over there and he turned to you and he said (and I forget what he said) but you looked at him and boy, that look, that was some look.'" The plot fades. The credits fade. But the moment stays. And Stewart admitted he often agreed with them: "A great many times you remember that moment too. And you thought it was pretty good."
3:05

James Stewart on what makes a great film performance: In a 1972 BBC interview, the legendary actor was asked how he approaches biographical roles like Glenn Miller and Charles Lindbergh. His answer revealed a philosophy he'd developed over decades in Hollywood. "You have to make a thing believable without using the device of acting. And that doesn't make any sense at all." But then he explained what he meant: "Over the years, I've developed a theory. I'm getting to believe that in films, what everybody is striving for is to produce moments. Not a performance, not a characterization, not something that you get into the part and it's you. You produce moments that create a feeling of believability to what you're doing." Stewart admitted these moments aren't guaranteed. "Sometimes it doesn't go, nothing happens." To illustrate, he shared a story about director Billy Wilder, who was famous for shooting take after take. In one important scene, Wilder had already done 30 takes when one of the actors finally asked what they were doing wrong. Wilder's response: "No, you're doing it fine. I'm just waiting for something to happen." That, Stewart said, is what creating moments looks like in practice. You can't force it. You set the conditions and wait. He then offered a second piece of evidence for his theory, drawn from his interactions with fans over the years: "People will come up to me and say, 'Boy, I like that picture you did.' Now they won't remember the name of the picture. They won't remember where they saw it. They won't remember who was in it or who directed it. But they said, 'You know, that picture. You were in this room and you were some kind of a lawyer or something and this fellow was over there and he turned to you and he said (and I forget what he said) but you looked at him and boy, that look, that was some look.'" The plot fades. The credits fade. But the moment stays. And Stewart admitted he often agreed with them: "A great many times you remember that moment too. And you thought it was pretty good."

History Nerd

47,622 görüntüleme • 4 ay önce

🚨 CANDACE OWENS: “CHARLIE CAME TO ME AND SAID HE WAS BETRAYED.” 🚨 “I had a vivid dream this weekend. Charlie came to me and he told me that he was betrayed. I don’t know who exactly it is that betrayed him, but I felt in the dream that it is soon going to be revealed. It's inevitable. There’s nothing and no one that’s going to stop the truth from coming out. And it’s going to have international consequences. Take that to the bank. Quote me on that.” ~ Candace Owens She said this on camera, describing it as a prophetic dream, that souls can communicate “on their way in and on their way out of this world.” If Candace is right, who betrayed Charlie and what “international consequences” was she warning about?
0:40

🚨 CANDACE OWENS: “CHARLIE CAME TO ME AND SAID HE WAS BETRAYED.” 🚨 “I had a vivid dream this weekend. Charlie came to me and he told me that he was betrayed. I don’t know who exactly it is that betrayed him, but I felt in the dream that it is soon going to be revealed. It's inevitable. There’s nothing and no one that’s going to stop the truth from coming out. And it’s going to have international consequences. Take that to the bank. Quote me on that.” ~ Candace Owens She said this on camera, describing it as a prophetic dream, that souls can communicate “on their way in and on their way out of this world.” If Candace is right, who betrayed Charlie and what “international consequences” was she warning about?

HustleBitch

166,607 görüntüleme • 11 ay önce