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Roman Polanski explains on what Psychiatrists thought about 'Repulsion' (1965): "Interviewer: We know of several psychiatrists who like 'Repulsion'. Polanski: Psychiatrists everywhere like the film. A famous Austrian professor told me that one element of the film had greatly surprised him, that the heroine hears things with a great... deal more acuity than normal people. This is a recent discovery in psychiatry, that schizophrenics loose the ability to select the noises they hear, that they hear sounds we don’t hear, ones we would normally eliminate. In New York a woman from Columbia University told me the film was screened several times for psychiatrists. Interviewer: Is this authenticity the result of medical research you did for the film? Polanski: No, it’s all just intuitive. I’ve not read anything about it. Intuition is the sum of experience." (Polanski's interview with Michel Ciment, Michel Perez, Roger Tailleur, 1969)show more

DepressedBergman

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Roman Polanski on why Stanley Kubrick's "2001: A Space Odyssey" (1968) was the only movie that really showed what one experiences under the influence of LSD: "Interviewer: How did you interpret the ending of '2001'? Polanski: It’s extremely ambiguous, but we’re led to understand that if there is a vastly superior intelligence, then we’re incapable of understanding and perceiving it. If it contributes to our development, then it might well be hidden from us. Kubrick gives this idea a cinematic form. Apart from that, what I like about the film are its technical and magical aspects. It’s full of fascinating effects like the voyage into space at the end. It’s a real “trip.” There are people who give themselves a headache trying—and failing—to show how it really is when you take LSD. I’ve seen very weak efforts in other films. Without showing it directly, the film has really grasped what you see when you take LSD." (Roman Polanski's interview with Michel Ciment, Michel Perez & Roger Tailleur, Positif, 1969)

Roman Polanski on why Stanley Kubrick's "2001: A Space Odyssey" (1968) was the only movie that really showed what one experiences under the influence of LSD: "Interviewer: How did you interpret the ending of '2001'? Polanski: It’s extremely ambiguous, but we’re led to understand that if there is a vastly superior intelligence, then we’re incapable of understanding and perceiving it. If it contributes to our development, then it might well be hidden from us. Kubrick gives this idea a cinematic form. Apart from that, what I like about the film are its technical and magical aspects. It’s full of fascinating effects like the voyage into space at the end. It’s a real “trip.” There are people who give themselves a headache trying—and failing—to show how it really is when you take LSD. I’ve seen very weak efforts in other films. Without showing it directly, the film has really grasped what you see when you take LSD." (Roman Polanski's interview with Michel Ciment, Michel Perez & Roger Tailleur, Positif, 1969)

DepressedBergman

135,410 Aufrufe • vor 5 Monaten

Roman Polanski explains how he filmed the famous Mirror scene in 'The Fearless Vampire Ki!!ers' (1967) "Interviewer: There is a playfulness when it comes to the techniques you used in the film, for example the scenes with the mirror where the vampires have no reflection but the non-vampires do. Polanski: But are you sure the actors without reflections weren't real vampires? Interviewer: Going by the story, the distinction between vampires and non-vampires is clear. In any case, the two main characters are not vampires because they get bitten at the end and only then become vampires. Polanski: That makes sense, but you do seem a little too sure of yourself. Anyway, how do you think we did the trick with the mirrors? Interviewer: A Jean Cocteau-style effect: you cut to the backs of the two doubles while the actors are facing forwards. Polanski: Yes, that’s the idea. I tried it out in several different ways but this was the simplest. I made a hole in the set where we fixed the mirrors, moved the sets behind to the other side, and put the doubles opposite the sets. We did the same thing in the scene with the bed when I’m sitting with the gay guy. I see you’re interested in technical things at Cahiers du Cinéma. It’s a shame you don’t print more about this as it’s actually more straightforward than what you usually write about. Interviewer: We try to write about everything. We only print what people say to us. Polanski: To be honest it’s been more than a year since I’ve held a copy of Cahiers in my hands—not since I left for America last April. And what bothers me—or used to bother me—is a certain bias, such as the one you have for me. Why is that? Interviewer: Have you seen any other good films about vampires or witches? On the whole they’re dire. Your films are something of a consolation." (Roman Polanski's interview with Michel Delahaye & Jean Narboni, Cahiers du Cinéma, 1969)

Roman Polanski explains how he filmed the famous Mirror scene in 'The Fearless Vampire Ki!!ers' (1967) "Interviewer: There is a playfulness when it comes to the techniques you used in the film, for example the scenes with the mirror where the vampires have no reflection but the non-vampires do. Polanski: But are you sure the actors without reflections weren't real vampires? Interviewer: Going by the story, the distinction between vampires and non-vampires is clear. In any case, the two main characters are not vampires because they get bitten at the end and only then become vampires. Polanski: That makes sense, but you do seem a little too sure of yourself. Anyway, how do you think we did the trick with the mirrors? Interviewer: A Jean Cocteau-style effect: you cut to the backs of the two doubles while the actors are facing forwards. Polanski: Yes, that’s the idea. I tried it out in several different ways but this was the simplest. I made a hole in the set where we fixed the mirrors, moved the sets behind to the other side, and put the doubles opposite the sets. We did the same thing in the scene with the bed when I’m sitting with the gay guy. I see you’re interested in technical things at Cahiers du Cinéma. It’s a shame you don’t print more about this as it’s actually more straightforward than what you usually write about. Interviewer: We try to write about everything. We only print what people say to us. Polanski: To be honest it’s been more than a year since I’ve held a copy of Cahiers in my hands—not since I left for America last April. And what bothers me—or used to bother me—is a certain bias, such as the one you have for me. Why is that? Interviewer: Have you seen any other good films about vampires or witches? On the whole they’re dire. Your films are something of a consolation." (Roman Polanski's interview with Michel Delahaye & Jean Narboni, Cahiers du Cinéma, 1969)

DepressedBergman

111,307 Aufrufe • vor 8 Monaten

The Coen Brother had many influences for making "Barton Fink" (1991). Three of the major influences were "Repulsion" (1965) "Cul-de-sac" (1966) and "The Tenant" (1976), all directed by Roman Polanski. Ethan Coen said, "If you had to describe "Barton Fink" (1991) generically, you couldn’t do better—not that this is a genre— but it’s kind of a Polanski movie. It’s closer to that than anything else.” Ironically, it was Roman Polanski who was the head of the Jury in the Cannes Film Festival when the movie premiered. The movie won the Palme D'or, Best Director, and Best Actor at the festival, thereby becoming the first movie to win three major awards at the Cannes Film Festival. The Coens were hesitant to speak to him about his influence at Cannes. Joel Coen explained, "Obviously, we have been influenced by Polanski's films, but at this time we were very hesitant to speak to him about it because we did not want to give the impression we were sucking up. The three films are ones we've been quite taken by. 'Barton Fink' does not belong to any genre, but it does belong to a series, certainly one that Roman Polanski originated." (The Coen Brothers' interview with Jim Emerson, 1991 & The Coen Brothers' interview to Postiff, 1991) P.S: On this day, 35 years ago, "Barton Fink" (1991) premiered at the Cannes Film Festival, France.

The Coen Brother had many influences for making "Barton Fink" (1991). Three of the major influences were "Repulsion" (1965) "Cul-de-sac" (1966) and "The Tenant" (1976), all directed by Roman Polanski. Ethan Coen said, "If you had to describe "Barton Fink" (1991) generically, you couldn’t do better—not that this is a genre— but it’s kind of a Polanski movie. It’s closer to that than anything else.” Ironically, it was Roman Polanski who was the head of the Jury in the Cannes Film Festival when the movie premiered. The movie won the Palme D'or, Best Director, and Best Actor at the festival, thereby becoming the first movie to win three major awards at the Cannes Film Festival. The Coens were hesitant to speak to him about his influence at Cannes. Joel Coen explained, "Obviously, we have been influenced by Polanski's films, but at this time we were very hesitant to speak to him about it because we did not want to give the impression we were sucking up. The three films are ones we've been quite taken by. 'Barton Fink' does not belong to any genre, but it does belong to a series, certainly one that Roman Polanski originated." (The Coen Brothers' interview with Jim Emerson, 1991 & The Coen Brothers' interview to Postiff, 1991) P.S: On this day, 35 years ago, "Barton Fink" (1991) premiered at the Cannes Film Festival, France.

DepressedBergman

90,673 Aufrufe • vor 3 Monaten

Roman Polanski on why he took the lead role in "The Tenant" (1976) & the movie role that was offered to him by Steven Spielberg: "Interviewer: What inspired you to play the lead in The Tenant? Polanski: At that point I was working with Paramount and they had the rights to the Roland Topor novel. I thought it would be a good role for me. As a matter of fact, I found it more interesting to play the part than to direct the film. I find this with a lot of scripts, and it’s actually rare that both things appeal to me at the same time. You shouldn’t forget that I started as an actor and only became a director later. Interviewer: Have there been parts in films made by other directors you would have liked to play? Polanski: Yes, there were a few. I get a lot of these kinds of offers but I won’t name the films. Sometimes I use my other commitments as an excuse because I’m scared to work with people I don’t know. I also feel that life is too short for me to throw myself into projects that aren’t my own. But I will tell you about one part that was offered to me. A long time ago Steven Spielberg offered me a role in his first Indiana Jones film as the Nazi officer, the one who burns his hand. Unfortunately I was busy and couldn’t make it to Tunisia, the place where the film was shot, which was a shame because I would have found out just how chaotic it is to shoot there. A few years later I ended up filming Pirates in Tunisia. Interviewer: Would you have accepted the role? Polanski: I really wanted to work with Steven Spielberg." (Roman Polanski's interview with Gerhard Midding, 1990) P.S: On this day, 50 years ago, "The Tenant" (1976) premiered at the Cannes Film Festival, France.

Roman Polanski on why he took the lead role in "The Tenant" (1976) & the movie role that was offered to him by Steven Spielberg: "Interviewer: What inspired you to play the lead in The Tenant? Polanski: At that point I was working with Paramount and they had the rights to the Roland Topor novel. I thought it would be a good role for me. As a matter of fact, I found it more interesting to play the part than to direct the film. I find this with a lot of scripts, and it’s actually rare that both things appeal to me at the same time. You shouldn’t forget that I started as an actor and only became a director later. Interviewer: Have there been parts in films made by other directors you would have liked to play? Polanski: Yes, there were a few. I get a lot of these kinds of offers but I won’t name the films. Sometimes I use my other commitments as an excuse because I’m scared to work with people I don’t know. I also feel that life is too short for me to throw myself into projects that aren’t my own. But I will tell you about one part that was offered to me. A long time ago Steven Spielberg offered me a role in his first Indiana Jones film as the Nazi officer, the one who burns his hand. Unfortunately I was busy and couldn’t make it to Tunisia, the place where the film was shot, which was a shame because I would have found out just how chaotic it is to shoot there. A few years later I ended up filming Pirates in Tunisia. Interviewer: Would you have accepted the role? Polanski: I really wanted to work with Steven Spielberg." (Roman Polanski's interview with Gerhard Midding, 1990) P.S: On this day, 50 years ago, "The Tenant" (1976) premiered at the Cannes Film Festival, France.

DepressedBergman

119,082 Aufrufe • vor 3 Monaten

Turner: When I played in the NFL, we had this thing called game film. You know all about film. We had a saying that said, the film don't lie. The film tells a real story. And I hope that the American people when they watch the film that's going on now, they will see America is greater today than it ever has been.

Turner: When I played in the NFL, we had this thing called game film. You know all about film. We had a saying that said, the film don't lie. The film tells a real story. And I hope that the American people when they watch the film that's going on now, they will see America is greater today than it ever has been.

Acyn

370,622 Aufrufe • vor 8 Monaten

Andrew Garfield says he and Jesse Eisenberg watched The Social Network and thought they ruined it "I remember me and Jesse watching the premiere. We were in New York, the New York Film Festival" "We were both just looking at each other like, it’s bad, right? This is a bad movie and we’re bad in it" "We had no concept that it was going to be a film that people would reference"

Andrew Garfield says he and Jesse Eisenberg watched The Social Network and thought they ruined it "I remember me and Jesse watching the premiere. We were in New York, the New York Film Festival" "We were both just looking at each other like, it’s bad, right? This is a bad movie and we’re bad in it" "We had no concept that it was going to be a film that people would reference"

Yonan

721,034 Aufrufe • vor 1 Monat

Sir Ben Kingsley on why "Sexy Beast" is not a gangster movie & what the movie is really about: "Interviewer: "Sexy Beast" is not your typical Brit gangster flick, is it? Kingsley: This is not a gangster film. It's as much a gangster film as "Othello" is a film about soldiers. It's not really a play about soldiers; it's a play about jealousy and envy. And this is a play about envy. Don despises Gal's flabbiness, and the way the warrior in him has deteriorated. At the same time, he envies his happiness. "I don't want you to be happy. Why should I?" is the central line of Don's in the film. Who would've thought that would've come from a gangster film? Interviewer: What do you think "Sexy Beast" is about? Kingsley: All I can say is that I read this as a tribal struggle, and the refusal of one man to return to his tribe provoked great indignation and anger in another, who was clearly a slave to that tribe but would never call himself a slave. Don clearly is, but would always refer to himself as a free man." (Ben Kingsley's interview with James Mottram, BBC, 2001)

Sir Ben Kingsley on why "Sexy Beast" is not a gangster movie & what the movie is really about: "Interviewer: "Sexy Beast" is not your typical Brit gangster flick, is it? Kingsley: This is not a gangster film. It's as much a gangster film as "Othello" is a film about soldiers. It's not really a play about soldiers; it's a play about jealousy and envy. And this is a play about envy. Don despises Gal's flabbiness, and the way the warrior in him has deteriorated. At the same time, he envies his happiness. "I don't want you to be happy. Why should I?" is the central line of Don's in the film. Who would've thought that would've come from a gangster film? Interviewer: What do you think "Sexy Beast" is about? Kingsley: All I can say is that I read this as a tribal struggle, and the refusal of one man to return to his tribe provoked great indignation and anger in another, who was clearly a slave to that tribe but would never call himself a slave. Don clearly is, but would always refer to himself as a free man." (Ben Kingsley's interview with James Mottram, BBC, 2001)

DepressedBergman

214,124 Aufrufe • vor 5 Monaten

Robert Bresson on the regret he had over his final film, "L'Argent" (1983): "Interviewer: You say you are a cheerful pessimist, but your last films have been darker than, say, 'Pickpocket' (1959) or 'A Man Escaped' (1956) , where there is something celebratory at the end. Bresson: I regret not being able to spend more time in 'L’Argent' on Yvon’s atonement, on the idea of redemption, but the rhythm of the film in that moment wouldn’t allow it. Interviewer: Yvon is a bit like the Exterminating Angel. Bresson: Society has abandoned him. All that carnage is like the explosion of his despair. Interviewer: “O money, visible god!” says one of your characters. But it’s a false god —because what matters to you is what can’t be seen. Bresson: It’s an abominable false god!" (Robert Bresson's interview with Michel Ciment, 1983) P.S: On this day, 43 years ago, "L'Argent" (1983) premiered at the Cannes Film Festival, France.

Robert Bresson on the regret he had over his final film, "L'Argent" (1983): "Interviewer: You say you are a cheerful pessimist, but your last films have been darker than, say, 'Pickpocket' (1959) or 'A Man Escaped' (1956) , where there is something celebratory at the end. Bresson: I regret not being able to spend more time in 'L’Argent' on Yvon’s atonement, on the idea of redemption, but the rhythm of the film in that moment wouldn’t allow it. Interviewer: Yvon is a bit like the Exterminating Angel. Bresson: Society has abandoned him. All that carnage is like the explosion of his despair. Interviewer: “O money, visible god!” says one of your characters. But it’s a false god —because what matters to you is what can’t be seen. Bresson: It’s an abominable false god!" (Robert Bresson's interview with Michel Ciment, 1983) P.S: On this day, 43 years ago, "L'Argent" (1983) premiered at the Cannes Film Festival, France.

DepressedBergman

33,733 Aufrufe • vor 3 Monaten

Christopher Plummer, who was a concert standard pianist with a fine musical ear, was furious when his singing voice was dubbed in “The Sound Of Music” (1965), and went on a drunken rampage through Salzburg. (He told me in an interview that the dubbing incident was one of the reasons he was rude about the film.) This is Plummer’s original vocal performance of “Edelweiss” - a chance to hear the song as he recorded it.

Christopher Plummer, who was a concert standard pianist with a fine musical ear, was furious when his singing voice was dubbed in “The Sound Of Music” (1965), and went on a drunken rampage through Salzburg. (He told me in an interview that the dubbing incident was one of the reasons he was rude about the film.) This is Plummer’s original vocal performance of “Edelweiss” - a chance to hear the song as he recorded it.

Petronella Wyatt

296,380 Aufrufe • vor 8 Stunden

#WATCH | Mumbai: On her film Emergency, actress Kangana Ranaut says "There was a lot of struggle. You must have seen no one could ever make a film on Mrs Gandhi (Indira Gandhi)...There was a film 'Kissa Kursi Ka', Director of that film had to commit suicide and such a situation was created for him. We got the courage to do this film because there is freedom of speech today. We had to show this film to several communities. This film had to go through a lot of scrutiny. We have a lot of faith in our Constitution and the Censor Board and we are happy and eager to show this film to the world...I had no idea that I would have to go through all of this while making my film Emergency..."

#WATCH | Mumbai: On her film Emergency, actress Kangana Ranaut says "There was a lot of struggle. You must have seen no one could ever make a film on Mrs Gandhi (Indira Gandhi)...There was a film 'Kissa Kursi Ka', Director of that film had to commit suicide and such a situation was created for him. We got the courage to do this film because there is freedom of speech today. We had to show this film to several communities. This film had to go through a lot of scrutiny. We have a lot of faith in our Constitution and the Censor Board and we are happy and eager to show this film to the world...I had no idea that I would have to go through all of this while making my film Emergency..."

ANI

72,526 Aufrufe • vor 1 Jahr

Andrzej Zulawski on why 'The Devil" (1972) was an important movie for him & the advice Andrzej Wajda gave him: "'The Third Part of the Night' (1971) was extremely important being the first film of course, but also for the way it is written. The flashbacks, the cuts or whatever, and the essence of the story is essentially the story of my father. Starting with that I really wanted to say Hello, I know, we know…we remember…je me souviens…like in Quebec. Stylistically it was not for me any kind of breakthrough into a different way of filmmaking, and 'The Devil' (1972) was. Wajda told me once, maybe one of the two things he said which I keep with me today, he said: "Look…be careful because the first day of the shooting of your new film, independently of the time which has passed between the two, will be the last day of the film which you just did before.” It’s so right, and so when we started 'The Devil', first day I remember, we started with this travelling shot, this elegant photography because 'Third Part of the Night' is elegant visually, anyway for me; then I said “Oh God, something is radically wrong…forget the rails, take the camera in hand and let’s do the film like a documentary about a bloody dream in which the history of Poland collapsed, etc. etc.” We did the film almost entirely with hand-held camera so it was a radical departure stylistically from the first film. This break was most important to me than anything later on, in technique." (Zulawski's interview with Donato Totaro, Offscreen, 2013)

Andrzej Zulawski on why 'The Devil" (1972) was an important movie for him & the advice Andrzej Wajda gave him: "'The Third Part of the Night' (1971) was extremely important being the first film of course, but also for the way it is written. The flashbacks, the cuts or whatever, and the essence of the story is essentially the story of my father. Starting with that I really wanted to say Hello, I know, we know…we remember…je me souviens…like in Quebec. Stylistically it was not for me any kind of breakthrough into a different way of filmmaking, and 'The Devil' (1972) was. Wajda told me once, maybe one of the two things he said which I keep with me today, he said: "Look…be careful because the first day of the shooting of your new film, independently of the time which has passed between the two, will be the last day of the film which you just did before.” It’s so right, and so when we started 'The Devil', first day I remember, we started with this travelling shot, this elegant photography because 'Third Part of the Night' is elegant visually, anyway for me; then I said “Oh God, something is radically wrong…forget the rails, take the camera in hand and let’s do the film like a documentary about a bloody dream in which the history of Poland collapsed, etc. etc.” We did the film almost entirely with hand-held camera so it was a radical departure stylistically from the first film. This break was most important to me than anything later on, in technique." (Zulawski's interview with Donato Totaro, Offscreen, 2013)

DepressedBergman

27,247 Aufrufe • vor 5 Monaten

I KNEW THIS WOULD HAPPEN!! Proof that in 2026, the same falsehoods are still being used - despite us all being told that psychiatrists never use the brain chemical imbalance myth. In 2022, Moncrieff et al. published a major umbrella review finding no convincing evidence that depression is caused by low serotonin or a serotonin “chemical imbalance.” Psychiatrists actually responded defensively by saying ‘no one believed that anyway!!’ Courts should not be told that someone’s behaviour, violence or offending can be explained by a supposed serotonin imbalance as though this is established biological fact. When outdated or unsupported psychiatric theories are presented as scientific explanations in criminal trials, they risk misleading judges and juries and turning complex human behaviour into a simplistic story about a broken brain. A courtroom is no place for debunked neuroscience and psychiatric twaddle. Secondly though - those of us who are critical of psychiatry are told that this theory was never pushed and people were never told that they have a brain chemical imbalance! I’ve even been told that I’m making this up, and patients have never been told this by psychiatrists. So I’m posting this for proof in 2026 that this is still being used in a criminal trial. By a psychiatrist. For those of you new to this information and didn’t know that the serotonin theory was ‘abandoned’ - this is because psychiatrists and psychiatric regulatory bodies never publicly corrected the information even once they knew it was wrong. Lots of doctors are still telling their patients that they have serotonin brain chemical imbalances every single day. It is highly likely that our ‘mental health’ is not the result of some obscure brain chemical imbalance, but is instead a reaction to our circumstances - but maybe that’s not a sexy enough explanation.

I KNEW THIS WOULD HAPPEN!! Proof that in 2026, the same falsehoods are still being used - despite us all being told that psychiatrists never use the brain chemical imbalance myth. In 2022, Moncrieff et al. published a major umbrella review finding no convincing evidence that depression is caused by low serotonin or a serotonin “chemical imbalance.” Psychiatrists actually responded defensively by saying ‘no one believed that anyway!!’ Courts should not be told that someone’s behaviour, violence or offending can be explained by a supposed serotonin imbalance as though this is established biological fact. When outdated or unsupported psychiatric theories are presented as scientific explanations in criminal trials, they risk misleading judges and juries and turning complex human behaviour into a simplistic story about a broken brain. A courtroom is no place for debunked neuroscience and psychiatric twaddle. Secondly though - those of us who are critical of psychiatry are told that this theory was never pushed and people were never told that they have a brain chemical imbalance! I’ve even been told that I’m making this up, and patients have never been told this by psychiatrists. So I’m posting this for proof in 2026 that this is still being used in a criminal trial. By a psychiatrist. For those of you new to this information and didn’t know that the serotonin theory was ‘abandoned’ - this is because psychiatrists and psychiatric regulatory bodies never publicly corrected the information even once they knew it was wrong. Lots of doctors are still telling their patients that they have serotonin brain chemical imbalances every single day. It is highly likely that our ‘mental health’ is not the result of some obscure brain chemical imbalance, but is instead a reaction to our circumstances - but maybe that’s not a sexy enough explanation.

Dr. Jessica Taylor

34,217 Aufrufe • vor 20 Tagen

Samuel L. Jackson explains how he landed the role of Jules in Pulp Fiction, and what it was like seeing the film for the first time on the big screen: “Pulp Fiction and I came together in a very strange kind of way. I remember auditioning for Quentin for Reservoir Dogs in New York (for the role of of Detective Jim Holdaway, Mr. Orange’s police contact). And apparently I didn't get that role. But I was at Sundance the year that he screened it for the first time. I was sitting there and I watched that movie - I was awed by it. I mean, there were people running up the aisles when Michael Madsen was cutting the cop's ear off. People were going, "Oh my God, this is horrible!" All these “auteurs” were running out of the theatre. I was like, "This is good. This is happening. This is different." So after the film, I walked up to Quentin and said, "This film's amazing, man. It's great." And he looked at me and said, "Hey! How'd you like the guy who got your part?" And I was amazed that he even remembered who I was - but he remembered me. A year or so later, I got a phone call saying Quentin Tarantino wants to have dinner with you, because he'd seen Jungle Fever and he liked that Gator character. When we had dinner, we were sitting there talking. We started talking about Hong Kong films and cartoons and foreign movies and obscure things that we watched, horror movies. We found out we liked the same kind of stuff. And he told me he was writing this thing, and he was writing this part with me in mind. He was going to send it to me. I went off to do another film. I was in the backwoods of Virginia somewhere doing a film, and the script came. A little plain brown wrapper from Jersey Films. And Jersey's got these gangster images on the logo. And it said, "If you show this script to anybody, two guys named Ernie and Luigi will come and break both of your legs." Whatever. I went, "Yeah, right." So I sat down and read it. Boom. I read this thing. It's like, "Oh my God. This is awesome." And then I said to myself, "Nobody writes a script this good. There's no way that this script is as good as I thought it was." I closed it. I opened it again. I read it immediately. Okay. This is great - If whoever produces this film lets him shoot exactly what I just read, if they stay away from it, they don't try to edit any of this stuff out - this is going to be a great film. It's going to be kind of audience-specific, because I like that kind of stuff. I have friends that I knew would like it. It was a generational kind of film. I never thought it would cross over and do all this stuff. We shot it. We had a great time doing it. And the first time I actually saw the film was at the Cannes Film Festival. That night, it screened, and I was sitting there watching the film. The audience was loving this movie, loving it. About halfway through, I realized there were subtitles at the bottom of it. So I said, "Hey, these people are reading it, and they're getting it. This might be special. This really might be something special." And actually, by the time it was over, there were tears running down my face. I was just so pleased that I was part of that particular film… I never felt that satisfied, and that kind of full about a performance and about being part of something as I was in that particular moment.” Quote comes from an Interview with the American Film Institute 2010

Gangster Cinema Central

85,366 Aufrufe • vor 2 Monaten

Meir Zarchi on whether "I Spit on your Grave" (1978) could've been made with less nud!ty & violence, and his response to Roger Ebert's scathing review of the movie: "Interviewer: Could the original film have been made with less nud!ty and explicit violence? Zarchi: Why, Gavin, to appease who? Interviewer: Not to appease anyone… just do you feel personally that it could have been done? Zarchi: Of course! I could have made the actors fully clothed as well. But that wouldn’t be reality. What would you prefer? Would you prefer to see the film with less nudity? Interviewer: No, not at all. My point is that with the way they remade it, toned it down, I think they took something away from the original. Zarchi: Okay, that’s a nice comment. In other words, you agree with the way it was originally made rather than the remake? (...) Interviewer: I’m curious what your response would be to Roger Ebert? Zarchi: Who is Roger Ebert? Interviewer: You don’t know Roger Ebert? Zarchi: Tell me, who is Roger Ebert? Interviewer: He’s a movie critic… Zarchi: I believe he’s the guy who “I Spit On Your Grave” made famous. Interviewer: That is probably true." (Meir Zarchi's interview with Gavin Schmitt, 2011)

Meir Zarchi on whether "I Spit on your Grave" (1978) could've been made with less nud!ty & violence, and his response to Roger Ebert's scathing review of the movie: "Interviewer: Could the original film have been made with less nud!ty and explicit violence? Zarchi: Why, Gavin, to appease who? Interviewer: Not to appease anyone… just do you feel personally that it could have been done? Zarchi: Of course! I could have made the actors fully clothed as well. But that wouldn’t be reality. What would you prefer? Would you prefer to see the film with less nudity? Interviewer: No, not at all. My point is that with the way they remade it, toned it down, I think they took something away from the original. Zarchi: Okay, that’s a nice comment. In other words, you agree with the way it was originally made rather than the remake? (...) Interviewer: I’m curious what your response would be to Roger Ebert? Zarchi: Who is Roger Ebert? Interviewer: You don’t know Roger Ebert? Zarchi: Tell me, who is Roger Ebert? Interviewer: He’s a movie critic… Zarchi: I believe he’s the guy who “I Spit On Your Grave” made famous. Interviewer: That is probably true." (Meir Zarchi's interview with Gavin Schmitt, 2011)

DepressedBergman

1,004,024 Aufrufe • vor 4 Monaten

Lana Wachowski on the philosophy of "Bound" (1996) & whether the Lesbian theme helped the movie: "Interviewer: Do you think the lesbian theme ultimately helped or hindered the film? Wachowski: From a commercial standpoint? Interviewer: Yes. Wachowski: For whatever it was, it was about lesbians and we weren't going to change it. People asked us to change it. People at other studios would read the script and say, "If you change Corky to a man we're really interested." And we were like, well, that movie's been made a million times, so we're really not interested in it. And in terms of the movie overall, we think it works pretty well. (...) Interviewer: Was that the philosophy of the movie? You know, you mentioned all those great directors of the past. They all had a philosophy. What was your philosophy? Wachowski: We think that not only gay people or queer people live in closets. Everybody does. We all tend to put ourselves into these boxes, these traps. And so what we tried to do is we tried to define as many of the characters through the sort of trap that they were making out of their lives. Getting out of the closet was meant to take on a bigger meaning than just the typical gay meaning." (Wachowskis' interview with Nat Whilk and Jayson Whitehead, Gadfly, 1998)

Lana Wachowski on the philosophy of "Bound" (1996) & whether the Lesbian theme helped the movie: "Interviewer: Do you think the lesbian theme ultimately helped or hindered the film? Wachowski: From a commercial standpoint? Interviewer: Yes. Wachowski: For whatever it was, it was about lesbians and we weren't going to change it. People asked us to change it. People at other studios would read the script and say, "If you change Corky to a man we're really interested." And we were like, well, that movie's been made a million times, so we're really not interested in it. And in terms of the movie overall, we think it works pretty well. (...) Interviewer: Was that the philosophy of the movie? You know, you mentioned all those great directors of the past. They all had a philosophy. What was your philosophy? Wachowski: We think that not only gay people or queer people live in closets. Everybody does. We all tend to put ourselves into these boxes, these traps. And so what we tried to do is we tried to define as many of the characters through the sort of trap that they were making out of their lives. Getting out of the closet was meant to take on a bigger meaning than just the typical gay meaning." (Wachowskis' interview with Nat Whilk and Jayson Whitehead, Gadfly, 1998)

DepressedBergman

156,161 Aufrufe • vor 3 Monaten

Robert Peston, "Are the British people wrong to want migration to come down?" Zack Polanski, "No, they aren't wrong" "But it's also true they've been pumped stories, negative stories about migration for decades now" "In fact the Prime Minister Keir Starmer said we're squeamish to talk about migration - it seems to me that we rarely talk about anything else" Robert Peston, "Sounds as if you're saying the voters are wrong" Zack Polanski, "No, I'm not" "It's just that 5% of migration is small boats but it covers 95% of the coverage we hear about" Its SO refreshing to hear a leader so positively about immigration. This kind of talk is not only healthy but better for our ALL our mental health being.

Robert Peston, "Are the British people wrong to want migration to come down?" Zack Polanski, "No, they aren't wrong" "But it's also true they've been pumped stories, negative stories about migration for decades now" "In fact the Prime Minister Keir Starmer said we're squeamish to talk about migration - it seems to me that we rarely talk about anything else" Robert Peston, "Sounds as if you're saying the voters are wrong" Zack Polanski, "No, I'm not" "It's just that 5% of migration is small boats but it covers 95% of the coverage we hear about" Its SO refreshing to hear a leader so positively about immigration. This kind of talk is not only healthy but better for our ALL our mental health being.

Narinder Kaur

357,586 Aufrufe • vor 10 Monaten

WE WROTE A SONG FOR THE Sonic the Hedgehog!! 😱 They brought us on board in July & we were SO EXCITED with how it turned out! Unfortunately, we were just told that it was cut from the film…😔 We still love the song & would love for you to hear it! Should we release it as a single?🤔

WE WROTE A SONG FOR THE Sonic the Hedgehog!! 😱 They brought us on board in July & we were SO EXCITED with how it turned out! Unfortunately, we were just told that it was cut from the film…😔 We still love the song & would love for you to hear it! Should we release it as a single?🤔

Gabriel C. Brown

888,656 Aufrufe • vor 1 Jahr