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Jan Němec explains why a filmmaker must always create his own world without compromise: "The director must create his own world, a world independent of reality, as it appears at the time. The painters have created their worlds, the composers too. But only a few film directors have achieved...

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DepressedBergman

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90,030 views • 1 month ago •via X (Twitter)

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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
1:56

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 views • 4 months ago

Alec Baldwin thinks Americans are "uninformed" about "what's really going on" in the world and says the film industry is helping to plug the gap. "There's a hole, a vacuum... a gap in information for Americans," the actor said at the Turin Film Festival on Monday. "Americans are very uninformed about reality, what's really going on — climate change, Ukraine, you name it. The biggest topics in the world, Americans have an appetite for a little bit of information. That vacuum is filled by the film industry. Not just the independent film industry, not just the documentary film industry but narrative films as well."
0:54

Alec Baldwin thinks Americans are "uninformed" about "what's really going on" in the world and says the film industry is helping to plug the gap. "There's a hole, a vacuum... a gap in information for Americans," the actor said at the Turin Film Festival on Monday. "Americans are very uninformed about reality, what's really going on — climate change, Ukraine, you name it. The biggest topics in the world, Americans have an appetite for a little bit of information. That vacuum is filled by the film industry. Not just the independent film industry, not just the documentary film industry but narrative films as well."

The Hollywood Reporter

68,245 views • 1 year ago

#WATCH | Delhi | On the Kerala Story 2 movie, Surbhi Tiwari, wife of BJP MP Manoj Tiwari, says, "...I want to tell people not to sit at home and talk; come out and watch the film. If you look at the documents, read the case, and watch the news, you will understand whether this is propaganda or whether such films are holding a mirror to society... This is not a film; it holds a mirror to society, and we all need to see it... If we want such incidents to stop, we must ensure that what is shown in this film does not happen to any Hindu girl..." (06.03)
2:07

#WATCH | Delhi | On the Kerala Story 2 movie, Surbhi Tiwari, wife of BJP MP Manoj Tiwari, says, "...I want to tell people not to sit at home and talk; come out and watch the film. If you look at the documents, read the case, and watch the news, you will understand whether this is propaganda or whether such films are holding a mirror to society... This is not a film; it holds a mirror to society, and we all need to see it... If we want such incidents to stop, we must ensure that what is shown in this film does not happen to any Hindu girl..." (06.03)

ANI

61,021 views • 6 months ago

In May I was invited to the Oxford Union to debate whether youth activism is "performative." But let’s be honest about what’s actually performative: sitting in wood-paneled rooms, debating , and sneering at a generation of young people who are trying to make change/ The reality? Gen Z isn’t driven to activism by TikTok or influencers. They are driven by the material reality of a capitalist system that has only ever offered them austerity, pandemics, climate chaos, and war. Revolutions don’t drop from the sky. They are the accumulation of a thousand different types of activism from climate strikes and BLM to the university encampments for Palestine. It is a molecular process. Young people are at the forefront because they have the most to lose, and they refuse to be burdened by the cynicism of the past. While the establishment sneers, a revolutionary wave is building. The question isn't whether youth activism is "performative" the question is how we organise that gut instinct to change the world into a real, material force that can actually overthrow the system at the root of the crisis. As Lenin once said: give us one generation of youth, and we will transform the world. We are not outnumbered. We are just out organised. Time to build.
0:36

In May I was invited to the Oxford Union to debate whether youth activism is "performative." But let’s be honest about what’s actually performative: sitting in wood-paneled rooms, debating , and sneering at a generation of young people who are trying to make change/ The reality? Gen Z isn’t driven to activism by TikTok or influencers. They are driven by the material reality of a capitalist system that has only ever offered them austerity, pandemics, climate chaos, and war. Revolutions don’t drop from the sky. They are the accumulation of a thousand different types of activism from climate strikes and BLM to the university encampments for Palestine. It is a molecular process. Young people are at the forefront because they have the most to lose, and they refuse to be burdened by the cynicism of the past. While the establishment sneers, a revolutionary wave is building. The question isn't whether youth activism is "performative" the question is how we organise that gut instinct to change the world into a real, material force that can actually overthrow the system at the root of the crisis. As Lenin once said: give us one generation of youth, and we will transform the world. We are not outnumbered. We are just out organised. Time to build.

Fiona Lali

11,188 views • 2 months ago

Andrei Tarkovsky on whether he is a Christian Filmmaker & how he expected the audience to interpret "The Sacrifice" (1986): "I believe that it's truly not important to know if I subscribe to certain beliefs, whether pagan, Catholic, Orthodox, or simply Christian. The important thing is the work itself. It seems to me better to judge the work from a general perspective, and not to be searching for contradictions which some wish to see in my work. A work of art isn't always a mirror reflection of the inner world of the artist, particularly when it comes to the smallest of details. While it's true, there exists a certain logical connection... it's possible for there to be an opposition to the personal beliefs of the artist. When I directed this film, I was convinced it had to address itself to all types of audiences. When I was very young I asked my father, "Does God exist-yes or no?" And he answered me brilliantly: "For the unbeliever, no, for the believer, yes!" This problem is very important. I want to say in relation to this that it's possible to interpret the film in different ways. For instance, those who are interested in various supernatural phenomena will search for the meaning of the film in the relationship between the postman and the witch, for them these two characters will provide the principal action. Believers are going to respond most sensitively to Alexander's prayer to God, and for them the whole film will develop around this. And finally a third category of viewers who don't believe in anything will imagine that Alexander is a bit sick, that he's psychologically unbalanced as a result of war and fear. Consequently many kinds of viewers will perceive the film in their own way. My opinion is that its necessary to afford the spectator the freedom to interpret the film according to their own inner vision of the world, and not from the point of view that I would impose upon him. For my aim is to show life, to render an image, the tragic, dramatic image of the soul of modern man. In conclusion, can you imagine such a film being directed by a non believer? I can't." (Andrei Tarkovsky's interview with Charles H. de Brantes, 1986) P.S: On this day, 40 years ago, "The Sacrifice" (1986) was released in Sweden.
1:03

Andrei Tarkovsky on whether he is a Christian Filmmaker & how he expected the audience to interpret "The Sacrifice" (1986): "I believe that it's truly not important to know if I subscribe to certain beliefs, whether pagan, Catholic, Orthodox, or simply Christian. The important thing is the work itself. It seems to me better to judge the work from a general perspective, and not to be searching for contradictions which some wish to see in my work. A work of art isn't always a mirror reflection of the inner world of the artist, particularly when it comes to the smallest of details. While it's true, there exists a certain logical connection... it's possible for there to be an opposition to the personal beliefs of the artist. When I directed this film, I was convinced it had to address itself to all types of audiences. When I was very young I asked my father, "Does God exist-yes or no?" And he answered me brilliantly: "For the unbeliever, no, for the believer, yes!" This problem is very important. I want to say in relation to this that it's possible to interpret the film in different ways. For instance, those who are interested in various supernatural phenomena will search for the meaning of the film in the relationship between the postman and the witch, for them these two characters will provide the principal action. Believers are going to respond most sensitively to Alexander's prayer to God, and for them the whole film will develop around this. And finally a third category of viewers who don't believe in anything will imagine that Alexander is a bit sick, that he's psychologically unbalanced as a result of war and fear. Consequently many kinds of viewers will perceive the film in their own way. My opinion is that its necessary to afford the spectator the freedom to interpret the film according to their own inner vision of the world, and not from the point of view that I would impose upon him. For my aim is to show life, to render an image, the tragic, dramatic image of the soul of modern man. In conclusion, can you imagine such a film being directed by a non believer? I can't." (Andrei Tarkovsky's interview with Charles H. de Brantes, 1986) P.S: On this day, 40 years ago, "The Sacrifice" (1986) was released in Sweden.

DepressedBergman

69,749 views • 4 months ago

Pakistani generals believe their strategy is the best in the world, but in reality it is completely useless. They think they are smarter than the rest of the world, but they are highly incompetent. The evidence of this is that they have lost all wars and, due to their questionable actions, have already lost half the country. • Former CIA official Bruce Riede
0:41

Pakistani generals believe their strategy is the best in the world, but in reality it is completely useless. They think they are smarter than the rest of the world, but they are highly incompetent. The evidence of this is that they have lost all wars and, due to their questionable actions, have already lost half the country. • Former CIA official Bruce Riede

برهان الدین ‏| Burhan uddin

24,918 views • 2 months ago

Jean-Luc Godard's "Vivre sa vie" (1962) was accepted by the Venice Film Festival after a conflict with Italian officials over several shots of n*d!ty that Godard cut from the release print. The film was booed after the screening: the difference of tone from Godard’s previous works, with their Hollywood stylings, was disconcerting. Nonetheless, it was “the object, the whole day, of all conversations” at the festival, and the film was awarded two prizes: the Critics’ Prize and the Special Jury Prize. One of the critics of the movie wondered why the characters in the movie talked so much, Godard said, “As in life, people talk a lot when they have a lot to say… What I have to say, I don’t say myself but I have my characters say it and that’s why they talk abundantly.” ("Everything is Cinema: The Working Life of Jean-Luc Godard", Richard Brody, 2008) P.S: On this day, 64 years ago, "Vivre sa vie" (1962) premiered at the Venice Film Festival, Italy.
1:39

Jean-Luc Godard's "Vivre sa vie" (1962) was accepted by the Venice Film Festival after a conflict with Italian officials over several shots of n*d!ty that Godard cut from the release print. The film was booed after the screening: the difference of tone from Godard’s previous works, with their Hollywood stylings, was disconcerting. Nonetheless, it was “the object, the whole day, of all conversations” at the festival, and the film was awarded two prizes: the Critics’ Prize and the Special Jury Prize. One of the critics of the movie wondered why the characters in the movie talked so much, Godard said, “As in life, people talk a lot when they have a lot to say… What I have to say, I don’t say myself but I have my characters say it and that’s why they talk abundantly.” ("Everything is Cinema: The Working Life of Jean-Luc Godard", Richard Brody, 2008) P.S: On this day, 64 years ago, "Vivre sa vie" (1962) premiered at the Venice Film Festival, Italy.

DepressedBergman

15,809 views • 21 days ago

Béla Tarr on the censorship of the State and the censorship of the market: "Interviewer: Did you attend a film school? Tarr: I went to film school after my first movie. Because you know at that time everybody needed a diploma. It was communist time, if you wanted to be a filmmaker you had to study in the official film school. But first I made a movie (laughs). Interviewer: Did you suffer from censorship? Tarr: I think censorship is always there. Then it was the censorship of the state and now it’s the censorship of the market. Some differences but . . . Interviewer: Otar Iosseliani, the Georgian director, was telling me the same, that the censorship of the big audience is worse that the censorship of the state, because you only get money for movies made for the big audience. Tarr: Yes, he is right. Because during the communist area you knew you had to make some tricks here and there, like a snake, and if you were very fast and you had some good ideas, you could do it. I really did what I wanted. We had a lot of difficulties, but finally we could make the movies." (Béla Tarr's interview with Eric Schlosser, Bright Lights Film Journal, 2000) P.S: On this day, 26 years ago, "Werckmeister Harmonies" (2000) premiered at the Cinedecouvertes Age D'or Film Festival Brussels, Belgium.
2:11

Béla Tarr on the censorship of the State and the censorship of the market: "Interviewer: Did you attend a film school? Tarr: I went to film school after my first movie. Because you know at that time everybody needed a diploma. It was communist time, if you wanted to be a filmmaker you had to study in the official film school. But first I made a movie (laughs). Interviewer: Did you suffer from censorship? Tarr: I think censorship is always there. Then it was the censorship of the state and now it’s the censorship of the market. Some differences but . . . Interviewer: Otar Iosseliani, the Georgian director, was telling me the same, that the censorship of the big audience is worse that the censorship of the state, because you only get money for movies made for the big audience. Tarr: Yes, he is right. Because during the communist area you knew you had to make some tricks here and there, like a snake, and if you were very fast and you had some good ideas, you could do it. I really did what I wanted. We had a lot of difficulties, but finally we could make the movies." (Béla Tarr's interview with Eric Schlosser, Bright Lights Film Journal, 2000) P.S: On this day, 26 years ago, "Werckmeister Harmonies" (2000) premiered at the Cinedecouvertes Age D'or Film Festival Brussels, Belgium.

DepressedBergman

41,945 views • 2 months ago

Kennedy: I would consider arming the kurds and telling the kurds that they can keep as their own any of the country that they win over or occupy in Iran. I'm not recommending it, but certainly it's something our military is considering. The kurds are the largest culture in the world that don't have their own country.
0:39

Kennedy: I would consider arming the kurds and telling the kurds that they can keep as their own any of the country that they win over or occupy in Iran. I'm not recommending it, but certainly it's something our military is considering. The kurds are the largest culture in the world that don't have their own country.

Acyn

50,750 views • 21 days ago

Alireza Sepahi was due to be executed alongside his cousin, Abolfazl Sepahi, in connection with the Alikhani Square case in Isfahan. However, on the way to the gallows, he suffered a stroke and was taken to hospital. A few days ago, his sister wrote on Instagram: “For the first time in my life, I am praying that a patient does not recover” In this video, a mother stands beside her son’s hospital bed, begging him not to regain consciousness, because she knows that if he opens his eyes, he will be taken back to be executed. Just imagine a terrorist regime turning the most heartbreaking scene from a fictional film into the reality of a family’s life, forcing them to pray that their own son does not survive. The thought of a sister, out of nothing but love for her brother, wishing he never recovers should shake the conscience of the world. This is not just an execution. It is the execution of hope, humanity, and love. And this is the reality of Iran today.
1:09

Alireza Sepahi was due to be executed alongside his cousin, Abolfazl Sepahi, in connection with the Alikhani Square case in Isfahan. However, on the way to the gallows, he suffered a stroke and was taken to hospital. A few days ago, his sister wrote on Instagram: “For the first time in my life, I am praying that a patient does not recover” In this video, a mother stands beside her son’s hospital bed, begging him not to regain consciousness, because she knows that if he opens his eyes, he will be taken back to be executed. Just imagine a terrorist regime turning the most heartbreaking scene from a fictional film into the reality of a family’s life, forcing them to pray that their own son does not survive. The thought of a sister, out of nothing but love for her brother, wishing he never recovers should shake the conscience of the world. This is not just an execution. It is the execution of hope, humanity, and love. And this is the reality of Iran today.

Niyak Ghorbani (نیاک)

11,271 views • 1 month ago

William Friedkin on the most important part of directing a movie: "It changes at different points in the making of the film. Initially, the most important decision you make is to decide what story you're going to tell. There's no decision more important than that. Because the commercial cinema, in which I work, is a storytelling medium. It's not necessarily a medium for... well, it isn't at all a medium for documentary purposes, for educational purposes, for experimental purposes. It's strictly a medium of entertainment. And the other aspects of it, if there are any, come as a kind of by-product of the audience experiencing the story. So, the most important decision I make as a filmmaker is to decide what story I'm going to do. There's nothing more important than that...ever. Once the story is decided, it then becomes a matter of translating the story into details; it becomes a matter of how I'm going to tell it. And the next most important elements are the casting and the people who are going to work on the film." (William Friedkin's interview with Gerald R. Barrett, 1975) Clip from: Sorcerer (1977) Director: William Friedkin
2:00

William Friedkin on the most important part of directing a movie: "It changes at different points in the making of the film. Initially, the most important decision you make is to decide what story you're going to tell. There's no decision more important than that. Because the commercial cinema, in which I work, is a storytelling medium. It's not necessarily a medium for... well, it isn't at all a medium for documentary purposes, for educational purposes, for experimental purposes. It's strictly a medium of entertainment. And the other aspects of it, if there are any, come as a kind of by-product of the audience experiencing the story. So, the most important decision I make as a filmmaker is to decide what story I'm going to do. There's nothing more important than that...ever. Once the story is decided, it then becomes a matter of translating the story into details; it becomes a matter of how I'm going to tell it. And the next most important elements are the casting and the people who are going to work on the film." (William Friedkin's interview with Gerald R. Barrett, 1975) Clip from: Sorcerer (1977) Director: William Friedkin

DepressedBergman

19,362 views • 4 months ago

Warren Buffett on happiness and being positive. "I don't know whether you're born, to some extent, that way — but you certainly see that it works. Take the people you know. The ones who are sour at the world, the world gets sour on." "You're going to have a better experience in life if, basically, you see the positive side of things. People will see the positive things in you at that point."
0:42

Warren Buffett on happiness and being positive. "I don't know whether you're born, to some extent, that way — but you certainly see that it works. Take the people you know. The ones who are sour at the world, the world gets sour on." "You're going to have a better experience in life if, basically, you see the positive side of things. People will see the positive things in you at that point."

Kevin Carpenter

11,959 views • 20 days ago

This seems like a conversation between two comedians, but really it’s a deep reflection of the fundamental difference between the Aryan and the Jew. Norm Macdonald- “Life is what is not what we think it is.” As in reality is what matters not perception. Jerry Seinfeld- “I would say it’s the exact opposite.” As in perception is what matters not reality. The Aryan has long believed that life/ nature has come with a certain set of rules and we are to learn from those rules. That is the foundation of western thought. We observe the world as it is. The Jew believes that he can create his own reality. Create the world the way he wishes to see it, as he does with social science professors and Hollywood. This is why the Aryan pushes for what he sees as “normal.” 2 parent relationships, strong male Leadership, etc. while the Jew pushes for transgenderism, homosexuality, multiculturalism.
2:35

This seems like a conversation between two comedians, but really it’s a deep reflection of the fundamental difference between the Aryan and the Jew. Norm Macdonald- “Life is what is not what we think it is.” As in reality is what matters not perception. Jerry Seinfeld- “I would say it’s the exact opposite.” As in perception is what matters not reality. The Aryan has long believed that life/ nature has come with a certain set of rules and we are to learn from those rules. That is the foundation of western thought. We observe the world as it is. The Jew believes that he can create his own reality. Create the world the way he wishes to see it, as he does with social science professors and Hollywood. This is why the Aryan pushes for what he sees as “normal.” 2 parent relationships, strong male Leadership, etc. while the Jew pushes for transgenderism, homosexuality, multiculturalism.

Uncommon Sense

214,248 views • 7 months ago

Sergei Parajanov on how the Soviet Film Ministry reacted after seeing "Shadows of forgotten Ancestors" (1965): "When officials saw the film, they understood it broke the principles of Socialist Realism and the social rubbish that ruled our cinematography at that time. But they could do nothing because it was too late: two days later, (Mikhail) Kotsyubinsky (The writer of the novel) had his jubilee. It was his centenary. So they said: "Let him go ahead and show his film." The film was released. They could ban it later on. And then they would somehow be finished with the whole affair. But when the intelligentsia saw it, they were moved. The film caused a chain reaction of unrest. The ministry asked me to make a Russian version. The film was not only shot in the Ukrainian language, but it was also in the Hutsul dialect. They asked me to dub the film in Russian. But I turned then down categorically." ("Sergei Parajanov Speaks Up", Ron Holloway, Kinema, 1996) P.S: On this day, 61 years ago, "Shadows of forgotten Ancestors" (1965) premiered at the Mar del Plata Film Festival, Argentina.
1:25

Sergei Parajanov on how the Soviet Film Ministry reacted after seeing "Shadows of forgotten Ancestors" (1965): "When officials saw the film, they understood it broke the principles of Socialist Realism and the social rubbish that ruled our cinematography at that time. But they could do nothing because it was too late: two days later, (Mikhail) Kotsyubinsky (The writer of the novel) had his jubilee. It was his centenary. So they said: "Let him go ahead and show his film." The film was released. They could ban it later on. And then they would somehow be finished with the whole affair. But when the intelligentsia saw it, they were moved. The film caused a chain reaction of unrest. The ministry asked me to make a Russian version. The film was not only shot in the Ukrainian language, but it was also in the Hutsul dialect. They asked me to dub the film in Russian. But I turned then down categorically." ("Sergei Parajanov Speaks Up", Ron Holloway, Kinema, 1996) P.S: On this day, 61 years ago, "Shadows of forgotten Ancestors" (1965) premiered at the Mar del Plata Film Festival, Argentina.

DepressedBergman

212,086 views • 6 months ago

On this day, 64 years ago, Shirley Clarke's "The Connection" (1961) premiered in Scottsdale, Arizona, USA. This film was held up for release after the Board of Regents of the Motion Picture Division of New York State's Dept. of Education viewed the film and refused to grant it a license to be commercially shown. This was mostly due to the repeated use (seven times) of a four-letter word that rhymes with "hit" and is used as a slang synonym for heroin. The film was judged obscene but opened without a license anyway at the D.W. Griffith Theater on October 3, 1962, only to receive several bad reviews from the major N.Y. film critics. Director Shirley Clarke sued and a month later, the highest court in the state reversed the decision of the Board of Regents. However, the reputation of the film was already damaged and to this day, it has never recouped its original $167,000 budget. [Source: IMDb] [P.S: It premiered in Cannes, Locarno & Venice Film festivals, but the exact dates are not available. If you find out, please let me know]
4:46

On this day, 64 years ago, Shirley Clarke's "The Connection" (1961) premiered in Scottsdale, Arizona, USA. This film was held up for release after the Board of Regents of the Motion Picture Division of New York State's Dept. of Education viewed the film and refused to grant it a license to be commercially shown. This was mostly due to the repeated use (seven times) of a four-letter word that rhymes with "hit" and is used as a slang synonym for heroin. The film was judged obscene but opened without a license anyway at the D.W. Griffith Theater on October 3, 1962, only to receive several bad reviews from the major N.Y. film critics. Director Shirley Clarke sued and a month later, the highest court in the state reversed the decision of the Board of Regents. However, the reputation of the film was already damaged and to this day, it has never recouped its original $167,000 budget. [Source: IMDb] [P.S: It premiered in Cannes, Locarno & Venice Film festivals, but the exact dates are not available. If you find out, please let me know]

DepressedBergman

14,043 views • 7 months ago

Gesture of #Youth producer 🫡👏: "Many are asking me what you are going to give Ken after Youth success. But at the start of the project itself I have given a gift, that I've made ken as a producer & given him a certain percentage from the film🫶. And I'm gonna do this for all my projects, so that the director will own the film👌"
1:02

Gesture of #Youth producer 🫡👏: "Many are asking me what you are going to give Ken after Youth success. But at the start of the project itself I have given a gift, that I've made ken as a producer & given him a certain percentage from the film🫶. And I'm gonna do this for all my projects, so that the director will own the film👌"

AmuthaBharathi

117,793 views • 5 months ago

Tobe Hooper asked Kit Carson to write the screenplay for the "The Texas Chainsaw Massacre 2" (1986) with an emphasis on dark comedy, an element Hooper felt was present in the first film but went unacknowledged by audiences and critics. Hooper said, "I’ll be honest: I feel that "TCM 2" came out of my frustration at the comedy in the first film not being appreciated or understood. And so I amplified the comedic aspects of it, but at the same time [effects master] Tom Savini made everything so anatomically correct and cost so much, that, you know, the film ended up not even getting a rating. I like the film as this wacky, crazy, bizarre, over-the-top dark comedy, but it missed its mark in doing what the audience expected it to do, which was to scare the hell out of them and give them a little more of what they had experienced in the first film." "It was a comedy that couldn’t get an MPAA rating, so they went out with it anyway, unrated. They couldn’t advertise. And the audience at the time didn’t want that kind of film. The core audience of the film was pissed off, because what they wanted to see was more of the same. But as with a lot of my pictures I made something that was actually appreciated 10 or 15 years later. It has a lot of fans now. Looking back, it’s one of those strange films, where you wonder how it ever got made. You don’t know why it exists, like 'Showgirls' (1995) , which I liked a lot. Taking chances is cool, but it may not be smart. Those were cool times. Life was cool. What can I say?" (Tobe Hooper Interview, Flashback Files, "The Buzz Heard ‘Round the World", Marc Savlov, Austin Chronicle, 1998) P.S: On this day, 40 years ago, "Texas Chainsaw Massacre 2" (1986) was released in the USA and Canada.
2:08

Tobe Hooper asked Kit Carson to write the screenplay for the "The Texas Chainsaw Massacre 2" (1986) with an emphasis on dark comedy, an element Hooper felt was present in the first film but went unacknowledged by audiences and critics. Hooper said, "I’ll be honest: I feel that "TCM 2" came out of my frustration at the comedy in the first film not being appreciated or understood. And so I amplified the comedic aspects of it, but at the same time [effects master] Tom Savini made everything so anatomically correct and cost so much, that, you know, the film ended up not even getting a rating. I like the film as this wacky, crazy, bizarre, over-the-top dark comedy, but it missed its mark in doing what the audience expected it to do, which was to scare the hell out of them and give them a little more of what they had experienced in the first film." "It was a comedy that couldn’t get an MPAA rating, so they went out with it anyway, unrated. They couldn’t advertise. And the audience at the time didn’t want that kind of film. The core audience of the film was pissed off, because what they wanted to see was more of the same. But as with a lot of my pictures I made something that was actually appreciated 10 or 15 years later. It has a lot of fans now. Looking back, it’s one of those strange films, where you wonder how it ever got made. You don’t know why it exists, like 'Showgirls' (1995) , which I liked a lot. Taking chances is cool, but it may not be smart. Those were cool times. Life was cool. What can I say?" (Tobe Hooper Interview, Flashback Files, "The Buzz Heard ‘Round the World", Marc Savlov, Austin Chronicle, 1998) P.S: On this day, 40 years ago, "Texas Chainsaw Massacre 2" (1986) was released in the USA and Canada.

DepressedBergman

27,983 views • 27 days ago

Stanley Kramer on the box-office failure of "Inherit the Wind" (1960): "Interviewer: Has an audience ever disliked a film that you, personally, liked very much? Kramer: Sure. One of the lowest grossing films in the world was 'Inherit the Wind' (1960). Nobody went to see it and I went all over the world with it. It had great reviews, and nobody went to see the film, so they must not have liked it. Word of mouth was not good until it came of age on television, and then it got a whole brand-new audience." ('Reel Conversations', George Hickenlooper, 1991)
2:01

Stanley Kramer on the box-office failure of "Inherit the Wind" (1960): "Interviewer: Has an audience ever disliked a film that you, personally, liked very much? Kramer: Sure. One of the lowest grossing films in the world was 'Inherit the Wind' (1960). Nobody went to see it and I went all over the world with it. It had great reviews, and nobody went to see the film, so they must not have liked it. Word of mouth was not good until it came of age on television, and then it got a whole brand-new audience." ('Reel Conversations', George Hickenlooper, 1991)

DepressedBergman

32,071 views • 7 months ago

Walter Hill on why the absence of big names made a huge difference to 'The Warriors' (1979): "One of the things that I was pleased about doing 'The Warriors' (1979) was that it didn’t lend itself to star casting. That at makes a big difference, especially when it comes to putting movies together timewise. We had free reign in casting the film. I told the studio that I wanted to do a movie with an all-black cast, but they would not go for that, and I think in the end they were right because the film becomes more universalized, more timeless, and a more magical world in that you have gangs who don’t look like what real gangs did. But at the same time there is a hint of social reality, so there’s a mix of social reality and fantasy. I think the interracial casting helped that. We were finding the movie." ('Walter Hill - The Cinema of Hollywood Maverick', Wayne Byrne, 2022) [P.S: On this day, 47 years ago, 'The Warriors' (1979) was released in Australia]
1:44

Walter Hill on why the absence of big names made a huge difference to 'The Warriors' (1979): "One of the things that I was pleased about doing 'The Warriors' (1979) was that it didn’t lend itself to star casting. That at makes a big difference, especially when it comes to putting movies together timewise. We had free reign in casting the film. I told the studio that I wanted to do a movie with an all-black cast, but they would not go for that, and I think in the end they were right because the film becomes more universalized, more timeless, and a more magical world in that you have gangs who don’t look like what real gangs did. But at the same time there is a hint of social reality, so there’s a mix of social reality and fantasy. I think the interracial casting helped that. We were finding the movie." ('Walter Hill - The Cinema of Hollywood Maverick', Wayne Byrne, 2022) [P.S: On this day, 47 years ago, 'The Warriors' (1979) was released in Australia]

DepressedBergman

80,178 views • 7 months ago

🇵🇸 🇯🇴 His Majesty King Abdullah II: “The world is watching, and history will judge us by the courage we show. And it’s not just the future that will hold us accountable, so will the people of the here and now. They will judge whether we, as the United Nations, will surrender to inaction, or will fight to uphold the principles that anchor this institution and our world. Right now, they are asking whether we will stand by as parents watch their children waste away, as doctors watch their patients die for lack of basic medical supplies, and as more innocent lives are lost, because the world failed to act. This war must end. Hostages and detainees must return home. But every day we wait is one day too long for far too many.”
1:21

🇵🇸 🇯🇴 His Majesty King Abdullah II: “The world is watching, and history will judge us by the courage we show. And it’s not just the future that will hold us accountable, so will the people of the here and now. They will judge whether we, as the United Nations, will surrender to inaction, or will fight to uphold the principles that anchor this institution and our world. Right now, they are asking whether we will stand by as parents watch their children waste away, as doctors watch their patients die for lack of basic medical supplies, and as more innocent lives are lost, because the world failed to act. This war must end. Hostages and detainees must return home. But every day we wait is one day too long for far too many.”

State of Palestine

419,797 views • 2 years ago