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Blow-Up (1966, Antonioni) "The greatest effort is to make films which have some meaning in one’s personal life without straying into the confessional." — Michelangelo Antonioni

DepressedBergman

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"The worst film ever? Blow-Up (1966) by Michelangelo Antonioni. It is a pile of pretentious cr*p." --- Mike Leigh

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"I believe Federico Fellini was more concerned with the outer life of the people in his films. I am concerned with their inner lives—why they do what they do." --- Michelangelo Antonioni 8½' (1963) / Blow-Up (1966)

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On this day, 19 years ago, we lost two of the greatest filmmakers of all time- Ingmar Bergman & Michelangelo Antonioni. Ingmar Bergman on Michelangelo Antonioni: "Antonioni has done two masterpieces, you don't have to bother with the rest. One is 'Blow-Up' (1966), which I've seen many times, & the other is 'La Notte' (1961), also a wonderful film, although that's mostly because of the young Jeanne Moreau." Michelangelo Antonioni on Ingmar Bergman: "Ingmar Bergman is a long way from me, but I admire him. He, too, concentrates a great deal on individuals; & although the individual is what interests him most, we are very far apart. His individuals are very different from mine-but he's a great director." Clips from: La Notte (1961) & Persona (1966)

On this day, 19 years ago, we lost two of the greatest filmmakers of all time- Ingmar Bergman & Michelangelo Antonioni. Ingmar Bergman on Michelangelo Antonioni: "Antonioni has done two masterpieces, you don't have to bother with the rest. One is 'Blow-Up' (1966), which I've seen many times, & the other is 'La Notte' (1961), also a wonderful film, although that's mostly because of the young Jeanne Moreau." Michelangelo Antonioni on Ingmar Bergman: "Ingmar Bergman is a long way from me, but I admire him. He, too, concentrates a great deal on individuals; & although the individual is what interests him most, we are very far apart. His individuals are very different from mine-but he's a great director." Clips from: La Notte (1961) & Persona (1966)

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"I try to make films that have the greatest possibility of pleasing myself, and I am certain that, the more beautiful they are, the more they please me." --- Michelangelo Antonioni Full Excerpt: "I certainly think about the public in the sense that I need someone to show what I have done, with whom I can communicate. However, I don't consider that the public influences me. If I made films for the public, shouldn't I make them for money or for glory? One makes films by thinking only about films and above all not about that sort of thing. I try to make films that have the greatest possibility of pleasing myself, and I am certain that, the more beautiful they are, the more they please me. " (Antonioni's interview to Cahiers du Cinema, 1960) Clip from: The Passenger (1975) Director: Michelangelo Antonioni

"I try to make films that have the greatest possibility of pleasing myself, and I am certain that, the more beautiful they are, the more they please me." --- Michelangelo Antonioni Full Excerpt: "I certainly think about the public in the sense that I need someone to show what I have done, with whom I can communicate. However, I don't consider that the public influences me. If I made films for the public, shouldn't I make them for money or for glory? One makes films by thinking only about films and above all not about that sort of thing. I try to make films that have the greatest possibility of pleasing myself, and I am certain that, the more beautiful they are, the more they please me. " (Antonioni's interview to Cahiers du Cinema, 1960) Clip from: The Passenger (1975) Director: Michelangelo Antonioni

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"I think Truffaut's films are like a river, lovely to see, to bathe in, extraordinarily refreshing & pleasant. Then the water flows & is gone. Very little of the pleasant feeling remains because I soon feel dirty again & need another bath." --- Michelangelo Antonioni

"I think Truffaut's films are like a river, lovely to see, to bathe in, extraordinarily refreshing & pleasant. Then the water flows & is gone. Very little of the pleasant feeling remains because I soon feel dirty again & need another bath." --- Michelangelo Antonioni

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Michelangelo Antonioni on social justice & criticizing the bourgeois in his movies: "Interviewer: All your films—not just the more overtly political 'Zabriskie Point' (1970) —strike me as profoundly ideological. What is the role of political ideas in your work? Antonioni: I don't start from a thesis, if that's what you're getting at. It's the plot which is most important. As I'm a man who lives in Italy —a very political country —it inevitably enters the picture. We feel everything in regard to politics in Italy! And not just in the cinema, but through the newspapers, art, elections . . . Italy is so corrupted by political scandals now. We're against it, of course, and in favour of social justice. Interviewer: Since you mention "'social justice," why do your films emphasize the role of the bourgeoisie more than other factions in Italian life? Antonioni: Quite simply because I know the bourgeois class better. I grew up with that background, as a tennis champion. That was my milieu. But it was not in Rome or Florence, but in Ferrara, which is not so aristocratic. Interviewer: You seem to criticize or satirize the bourgeoisie. Antonioni: Yes. I was so against the bourgeoisie and wanted to say something against it. Only in "Il Grido" (1957) and "Gente Del Po" (1947) do I deal with the working classes. That was in reaction to the government which didn't want films to be about workers. Interviewer: Like Renoir, you portray the dialectics of decay of the bourgeoisie. This is an act of negation, in Marcuse's terminology. But is there a solution, something positive? Antonioni: The bourgeoisie is sliding into nothingness. They are disappearing slowly. I don't know what the alternative might be." (Michelangelo Antonioni's interview with Frank P. Tomasulo, 1982) P.S: On this day, 69 years ago, "Il Grido" (1957) premiered at the Locarno Film Festival, Italy.

Michelangelo Antonioni on social justice & criticizing the bourgeois in his movies: "Interviewer: All your films—not just the more overtly political 'Zabriskie Point' (1970) —strike me as profoundly ideological. What is the role of political ideas in your work? Antonioni: I don't start from a thesis, if that's what you're getting at. It's the plot which is most important. As I'm a man who lives in Italy —a very political country —it inevitably enters the picture. We feel everything in regard to politics in Italy! And not just in the cinema, but through the newspapers, art, elections . . . Italy is so corrupted by political scandals now. We're against it, of course, and in favour of social justice. Interviewer: Since you mention "'social justice," why do your films emphasize the role of the bourgeoisie more than other factions in Italian life? Antonioni: Quite simply because I know the bourgeois class better. I grew up with that background, as a tennis champion. That was my milieu. But it was not in Rome or Florence, but in Ferrara, which is not so aristocratic. Interviewer: You seem to criticize or satirize the bourgeoisie. Antonioni: Yes. I was so against the bourgeoisie and wanted to say something against it. Only in "Il Grido" (1957) and "Gente Del Po" (1947) do I deal with the working classes. That was in reaction to the government which didn't want films to be about workers. Interviewer: Like Renoir, you portray the dialectics of decay of the bourgeoisie. This is an act of negation, in Marcuse's terminology. But is there a solution, something positive? Antonioni: The bourgeoisie is sliding into nothingness. They are disappearing slowly. I don't know what the alternative might be." (Michelangelo Antonioni's interview with Frank P. Tomasulo, 1982) P.S: On this day, 69 years ago, "Il Grido" (1957) premiered at the Locarno Film Festival, Italy.

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"The success of 'L'Eclisse' (1962) in Japan is explained by the very slow rhythm of the film, broken only now & then by "outbursts," such as the Stock Exchange sequences. The Japanese liked it a lot. They already knew & loved Alain Delon & Monica Vitti." — Michelangelo Antonioni

"The success of 'L'Eclisse' (1962) in Japan is explained by the very slow rhythm of the film, broken only now & then by "outbursts," such as the Stock Exchange sequences. The Japanese liked it a lot. They already knew & loved Alain Delon & Monica Vitti." — Michelangelo Antonioni

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$Michelangelo Antonioni on the Final sequence of 'The Passenger' (1975): "Interviewer: How long did it take to do the final scene of The Passenger? Antonioni: 11 days. But that was not because of me but because of the wind. It was very windy weather and so difficult to keep the camera steady. Interviewer: One critic has said that the final seven-minute sequence is destined to become a classic of film history. Can you explain how you conceived it? Antonioni: I had the idea for the final sequence as soon as I started shooting. I knew, naturally, that my protagonist must die, but the idea of seeing him die bored me. So I thought of a window and what was outside, the afternoon sun. For a second, just for a fraction-Hemingway crossed my mind: "De@th in the Afternoon." And the arena. We found the arena and immediately realized this was the place. But I didn't yet know how to realize such a long shot. I had heard about the Canadian camera, but I had no first-hand knowledge of its possibilities. In London, I saw some film tests. I met with the English technicians responsible for the camera and we decided to try. There were many problems to solve. The biggest was that the camera was 16mm and I needed 35mm. To modify it would have involved modifying its whole equilibrium since the camera IS mounted on a series of gyroscopes. However. I succeeded in doing it. Interviewer: Did you use a zoom lens or a very slow dolly? Antonioni: A zoom was mounted on the camera. But it was only used when the camera was about to pass through the gate. Interviewer: It's interesting how the camera moves toward the man in the center against the wall but we never get to see him, the camera never focuses on him. Antonioni: Well, he is part of the landscape, that's all. And everything is in focus-everything. But not specifically on him. I didn't want to go closer to anybody. The surprise is the use of this long shot. You see the girl out side and you see her movements and you understand very well without going closer to her what she's doing, maybe what her thoughts are. You see, I am using this very long shot like closeups, the shot actually takes the place of closeups. Interviewer: Did you cover that shot in any other way or was this your sole commitment? Antonioni: I had this idea of doing it in one take at the beginning of the shooting and I kept working on it all during the shooting." [Filmmakers Newsletter, I975]$

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