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Andrei Tarkovsky explains why he never thought of the viewer while making a film: "Interviewer: When I compare your films, I get the impression that you are working towards an ascetic style. Tarkovsky: Yes, that is correct. I would like to be like that. In my latest film I...

183,903 次观看 • 7 个月前 •via X (Twitter)

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Krzysztof Kieślowski on why he feels it is immoral to spend a lot of money to make movies: "I don't believe in absolute freedom. In practice it is impossible, philosophically unacceptable. We direct ourselves to get freedom and every time we realize we can't reach it. And, looking at it in this way, the goal is not as important as the means of attaining it: it is not possible- thank God!- to achieve our goal. So it is obvious that I am favourably disposed to compromise. And not because it is useful. First of all, because I don't know the answers, and in making films I ask questions. Questions and doubts, lack of self-confidence, curiosity and amazement that everything goes on in a natural way- all this puts me in the position of an observer and a listener. I change my script very often- the scenes, dialogues or situations- because I can see that people around me have better ideas, more intelligent solutions. It doesn't disturb me that these are other people's ideas. When I have accepted and chosen them, they become mine. As a film director I am realistic. I am using the world of events and the world of thoughts, and I treat them equally. I am also realistic in my approach to the work. I respect my producer, money and, above all, my viewer. Not just because I have to. I do so because I want to. In my opinion, the production of a film- however costly- has its own morality. And I am trying to obey this morality, because I want to obey. A cup of coffee may cost 1½ dollars, may cost 3 or 5 dollars, but when it costs 120 dollars, drinking this coffee is immoral. It is exactly the same in the production of films. The film I want to make is the film I am able to make. There are no others. I don't think of other films. I don't have a million viewers waiting at the entrance of the cinema, but I need to feel that someone needs me for something. And even if I make films- like all my colleagues- for myself, I'm looking all the time for somebody who tells me, like a fifteen-year-old girl in France, 'I saw your 'Double Life of Veronique' (1991) Then I want to see it several more times. For the first time in my life I have seen and I have felt that there is something like 'soul'. So, if I were not concerned about this girl's opinion, there would be no reason to take the camera out of its box." ('Projections A forum for Filmmakers', edited by John Boorman and Walter Donohue)

DepressedBergman

63,389 次观看 • 5 个月前

Thodōros Angelopoulos on his film language & the reason for not liking some of Andrei Tarkovsky's movies: "Interviewer: The most important thing in your films seems to be the consistence of every single shot. It has to have its own force and build up its intensity as it goes. Angelopoulos: It is for this reason that my personal film language is based on expanding the dimension of time. Before you enter into the gist of any given shot, you have to be given the time to find out the relations between the actor and the landscape. For this reason, I love Tarkovsky's 'Stalker' (1979); 'Nostalghia' (1983), I like less; 'The Sacrifice' (1986), I do not like at all. As far as I am concerned, the Holy Trinity-that of the actor, the landscape, and the camera-is perfect in Stalker. Interviewer: In most of your films, there seems to be a sense of melancholy for the past. But the two children, who are not subject to this melancholy, are pulling you in a different direction. Angelopoulos: I believe the past is my own personal past dragged into the present by my occupation as a filmmaker. The tree at the end of 'Landscape in the Mist' (1988) is the tree from 'Voyage to Cythera' (1984), a reference to my own personal film Landscape. In the course of this picture, the children cross a film landscape in order to reach, at the end, a different film landscape, which, I believe, should offer them renewed hope. I would like to believe the world will be saved by the cinema. Cinema is my world and it is the scope of all my journeys. I am always searching for secret little utopias that will enchant me; I am doing my best to believe in the relevance of these trips I am constantly embarking on through my films." (Thodōros Angelopoulos's interview with Serge Toubiana & Frederic Strauss, 1988) P.S: Remembering the great Greek filmmaker Thodōros Angelopoulos on his 91st birthday. Clip from: Landscape in the Mist (1988) Director: Thodōros Angelopoulos

DepressedBergman

47,800 次观看 • 2 个月前

"You know, I don't, I have not changed. I really make the movies for myself. I really, really do." Q: "For no one else, or just sort of like what you ultimately want to see in them?" "Yeah, I think so." Q: "As a fan yourself, too? "What I want to see, yeah, like as a, like, you only have the benchmark of yourself. Like, if you ever try and make a movie for someone other than yourself... I feel like you're going to blow it. "Because you can't, you don't know how anyone else is going to feel. So like, you know, you go, 'okay, do I find that emotionally real? Do I find that interesting? Is that the Krypton I want to go to? Is that the Superman I want to see fight?' "You know, those are the questions you ask yourself constantly. And I think once you, if you're constantly answering yes to that, then you'll end up the more, the film will end up being more interesting to you. "And ultimately, the film being interesting to you allows you to make the movie better because you're interested. "If you make it for someone else over a two-year period, you're just going to not give a sh*t at some point because you're just like, 'I don't care. This is not my movie. I don't care about this movie because I made it for someone else.'" Q: "I imagine that's a very hard thing to do in Hollywood, though, is to keep your vision clear with so much collaboration, with so much going on, with so many other people in the mix." "It really depends on the project. For instance, it was hard on Guardians, you know, where I feel like what ended up happening on that movie was people, we did end up, they did end up asking me like, 'this is for kids, right?' "And I got to honestly say that I knew it was for kids, but I didn't want to make it for kids. You know what I mean? And I think that's what happened to that movie. It did get like second guessed at the end and turned more into a movie for kids. "My point of view is I can think like a child if I want. I have that enthusiasm for movies and what I think is cool. You, the collective you, don't need to try and second guess me and go, 'this is what we think a kid would like.' "And then it's like, 'oh, a song' or whatever. Then you're just like, 'okay, whatever.'"

Zack Snyder Film

334,960 次观看 • 7 个月前

I would only blame myself if someone kept taking food off of my plate and eating it. It’s because I didn’t set clear boundaries at all. To be honest I couldn’t even be mad about this because it would be my fault this even happened. But you know very well I’m going to learn my lesson. She obviously is very comfortable doing this, he doesn’t seem to be firm about not letting her do it, the only one he can be mad at is himself. I think he will think twice about continuing to let her get away with it. Years ago, my brother used to do this to me and when I confronted him he laughed but he never stopped doing it, it got old really quick, I was annoyed because it felt like a bullying tactic. It got to the point one day that i had had enough, I made my plate and I dumped a bunch of salt into it knowing he was going to try to eat my food. After one bite he spit it out and he learned his lesson. He never did it again. But he still got mad I did it. Personally I think he was more mad he got caught if anything. I think a simple solution is to double order, that way if someone eats all my food I still have a back up, that could work right? But a part of me feels like that shouldn’t even be necessary. What would you do if someone kept eating off your plate? Would you put your foot down or just stay silent in hopes they don’t do it again. I think I am going to start just smoking more meat on the grill and keeping that up. I always make so much and if people wanna have some I still have plenty.

SonnyBoy🇺🇸

49,509 次观看 • 25 天前

Q: It must be complicated, when I listen to you, to have a private life, somebody to understand your passion and to share this moment. Lewis: "It really is, especially I would say more so today than ever before, which is the way the world is, you know. I look at the other drivers and I wonder how they're doing it. You know, some are having kids and some married, some, you know, most of them girlfriends. I did that when I was in my 20s, but I took a decision to really to maximize my time that I have here because it's not as long as you think and it's limited, you know. And I don't want to look back and be like, ah, if I just gave a little bit more here, I didn't sacrifice my time because I was committed elsewhere." "So I really focused in these last, you know, particularly these last 10 years, like get everything I can out of my performance. Then when I retire, then I can do whatever I want. You know, I can dedicate my time to whatever else it is and not have to worry." "But in this competition time, focus on health, well-being, my mental health, my driving technique, being as good an engineer as I can be, and also being the best teammate that I can potentially be for the guys that I get to work with. That's my sole focus. You know, I want to win." "I've been fortunate enough to win with great teams in the past. Particularly, obviously, with Mercedes and with McLaren, which was incredible. And my dream is to win a championship with Ferrari." "And that's something that hasn't been done for a while. But they have absolutely every ingredient that's needed to win. It's just like getting all the pieces of the puzzle in the right place. And that's what I'm trying to work on in the background with Fred and the whole team." [📹 VIGNERON GAETAN]

sim

86,907 次观看 • 11 个月前

Rick Rubin tells Andrew Huberman how he deals with creative or writer’s block. He treats his work like a diary entry (and doesn’t worry about internal or external judgment): ➡️ “What's the cause of the block? The block is usually something that's either personal ("I'm not good enough") or it can be a confidence issue ("I don't have anything to say") or it could be...thinking about someone else ("nobody's going to like what I make"). Do you know what I'm saying? So, it's either fear of self-judgment or external judgment. If you're making something with a freedom of "this is something I'm making for myself for now", that is all [you have to do]. It is a diary entry. Everything I make is a diary entry. The beauty of a diary entry is that I can write my diary entry and you can't tell me that my diary entry wasn't good enough. Or that [the diary entry] is not what I experienced. Of course it's what I experienced: I'm writing a personal diary for myself and no one else can judge if it is my experience of my life. Everything we make can be that: a personal reflection of who we are in that moment of time. It doesn't have to be the greatest you could ever do. It doesn't have to have any expectation that it's going to change the world. It doesn't have to sell a certain number of copies for any reason. It doesn't have any of those things at all. It is "I'm making this thing for me and I want to do it to the best of my ability and to where I feel good about it". [The work] is honest of where I'm at and if you're living in this world of just being honest to where you're at, there's nothing blocking you. There are no blocks. The blocks are all based on dealing with a different force or a different perception that is made up.” ⬅️

Trung Phan

1,619,350 次观看 • 2 年前