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Sidney Lumet on why he found himself drawn to adapting Stage plays into movies: "The writing is better in the theater. I love language. When I first began in television and early in my film directing career there used to be arguments—in the forties and fifties—that there had been... no real cinema art since sound came in. Well, since sound is here, I want the best in sound. If words are going to be used, I want the best in words. Playwrights tend to write better language, more revelatory language, more profound language, than most screenwriters. I don’t have any particular theory on adapting stage works to film. I take them one at a time. I didn’t ‘open up’ 'Long Day’s Journey into the Night' (1962) at all, except for that scene on the porch, which was important, given the title. I don’t believe in opening it up if you lose tension, lose characterizations or lose the story. | opened up 'Deathtrap' (1982) very, very little because it would have let the tension out. It’s a psychological thing. Confinement can work for you." (Sidney Lumet's interview with Kenneth M. Chanko, 1984) On this day, 44 years ago, "Deathtrap" (1982) premiered in New York City, USA.show more

DepressedBergman

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20,208 次观看 • 6 个月前 •via X (Twitter)

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RIP Sam Neill (1947-2026) Sam Neill on why "The Piano" (1993) is an important movie in Cinema history: "I don’t think I can overestimate how important 'The Piano' (1993) is for me in hindsight. It sits on my funny old CV like a medal on my chest. It wasn’t my film. It was Jane Campion's. I wasn’t the star of the film. That was Holly Hunter. But there is honour to be found in the second fiddle. Or fourth. No one notices you much, you don’t get nominated for things. But you served. I was there in an important feminist film. I was there on the front line in an important New Zealand film. Neither of these labels does the film justice. It’s a work of art. And look, that tiny little figure in the fabric— see down there on the right—that’s me. It’s a film that will always have a place in cinema history. And I served in it." ("Did I Ever Tell You This: A Memoir", Sam Neill, 2023)

RIP Sam Neill (1947-2026) Sam Neill on why "The Piano" (1993) is an important movie in Cinema history: "I don’t think I can overestimate how important 'The Piano' (1993) is for me in hindsight. It sits on my funny old CV like a medal on my chest. It wasn’t my film. It was Jane Campion's. I wasn’t the star of the film. That was Holly Hunter. But there is honour to be found in the second fiddle. Or fourth. No one notices you much, you don’t get nominated for things. But you served. I was there in an important feminist film. I was there on the front line in an important New Zealand film. Neither of these labels does the film justice. It’s a work of art. And look, that tiny little figure in the fabric— see down there on the right—that’s me. It’s a film that will always have a place in cinema history. And I served in it." ("Did I Ever Tell You This: A Memoir", Sam Neill, 2023)

DepressedBergman

340,495 次观看 • 2 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

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 • 5 个月前

Nick Saban says he had lived his entire life like he was in a hurry and didn’t even realize it “When I retired, and I don’t know if I ever shared this with anybody, I spent 50 years of my life being in a hurry and didn’t know it.” “I retired and the cars are backed up on the bridge and it goes down to one lane. In the old days, I would be the guy that passed all the cars up and cut in at the last minute in front of somebody.” “I sat there with Miss Terry in the car. She says, ‘You mean you’re not going to pass everybody illegally and cut in?’ I said, ‘We’re not in a hurry.’” “But it’s the first time when I retired that I realized that I wasn’t in a hurry. And I was in a hurry for 50 years and didn’t know it.” “I was always hurrying up to the next thing. Solve the next problem, go to the next thing. And you talk about relieving stress, that relieves stress better than anything. I just noticed it in that circumstance. Not cutting into traffic and waiting my turn.”

Nick Saban says he had lived his entire life like he was in a hurry and didn’t even realize it “When I retired, and I don’t know if I ever shared this with anybody, I spent 50 years of my life being in a hurry and didn’t know it.” “I retired and the cars are backed up on the bridge and it goes down to one lane. In the old days, I would be the guy that passed all the cars up and cut in at the last minute in front of somebody.” “I sat there with Miss Terry in the car. She says, ‘You mean you’re not going to pass everybody illegally and cut in?’ I said, ‘We’re not in a hurry.’” “But it’s the first time when I retired that I realized that I wasn’t in a hurry. And I was in a hurry for 50 years and didn’t know it.” “I was always hurrying up to the next thing. Solve the next problem, go to the next thing. And you talk about relieving stress, that relieves stress better than anything. I just noticed it in that circumstance. Not cutting into traffic and waiting my turn.”

Josh Chambers

1,284,213 次观看 • 2 天前

Joe Girardi explains why he knowingly allowed his pitcher Mike Mussina to make a mistake that cost his team the game because sometimes you have to lose the battle to win the war: “He had an up-and-down year. He was in and out of the rotation. I knew that he would be really important to us in the playoffs…” “So I had to show Mike Mussina that I believed in him. I know the numbers. Manny’s a better hitter… I know that I want to walk Manny.” “I went to the mound and I asked, What do you want to do here? I know what I want to do… But I want to hear what you want to do.” “He said, I want to go after Manny.” “I said, Okay. I get back to the dugout… Put my foot back up on the step… And bam, he hits a double in the gap.” “The first thing I thought was, why didn’t I go with my gut? Why didn’t I go with what I thought was right?” “This is the thing about managing people. Sometimes you have to lose the battle to win the war.” “I’ve got to get Mike Mussina… To know that I believe in him… And trust in him.” “As a manager and a coach… You always have to take all the blame… And give all the credit to the other people. I put none of it on Mike’s shoulders. Mike ended up winning 20 games that year. It was the only year he won 20 games in his career.” “Even though that situation didn’t work out… We lost that game… I learned a lot about managing people… And the importance of showing belief in them.”

Joe Girardi explains why he knowingly allowed his pitcher Mike Mussina to make a mistake that cost his team the game because sometimes you have to lose the battle to win the war: “He had an up-and-down year. He was in and out of the rotation. I knew that he would be really important to us in the playoffs…” “So I had to show Mike Mussina that I believed in him. I know the numbers. Manny’s a better hitter… I know that I want to walk Manny.” “I went to the mound and I asked, What do you want to do here? I know what I want to do… But I want to hear what you want to do.” “He said, I want to go after Manny.” “I said, Okay. I get back to the dugout… Put my foot back up on the step… And bam, he hits a double in the gap.” “The first thing I thought was, why didn’t I go with my gut? Why didn’t I go with what I thought was right?” “This is the thing about managing people. Sometimes you have to lose the battle to win the war.” “I’ve got to get Mike Mussina… To know that I believe in him… And trust in him.” “As a manager and a coach… You always have to take all the blame… And give all the credit to the other people. I put none of it on Mike’s shoulders. Mike ended up winning 20 games that year. It was the only year he won 20 games in his career.” “Even though that situation didn’t work out… We lost that game… I learned a lot about managing people… And the importance of showing belief in them.”

Josh Chambers

26,460 次观看 • 2 个月前

“During my first Malayalam film, I was very scared because Malayalam is not an easy language at all. #Mohanlal sir was there in the film, and whenever he came on set, I felt like I had to deliver my absolute best.” - Actress #RaashiiKhanna

“During my first Malayalam film, I was very scared because Malayalam is not an easy language at all. #Mohanlal sir was there in the film, and whenever he came on set, I felt like I had to deliver my absolute best.” - Actress #RaashiiKhanna

Whynot Cinemas

63,616 次观看 • 9 个月前

Steven Spielberg says it’s a coincidence that Disclosure Day is releasing as the Trump administration is releasing UFO files He began writing the story in 2017 and finished it in 2023 “I started writing notes about the story in 2017. I've been in process on disclosure day since 2017. I found the story and wrote the story in 2023 and then David Kemp came on board the following year and he adapted my story into a screenplay and then we worked together in the script for a long time. This has been in process for a long time and in a way the facts that are out there caught up with my movie because my movie came first Then suddenly we found out a few months ago that there was going to be disclosures but not ultimate disclosures like we're aiming for in our film.”

Steven Spielberg says it’s a coincidence that Disclosure Day is releasing as the Trump administration is releasing UFO files He began writing the story in 2017 and finished it in 2023 “I started writing notes about the story in 2017. I've been in process on disclosure day since 2017. I found the story and wrote the story in 2023 and then David Kemp came on board the following year and he adapted my story into a screenplay and then we worked together in the script for a long time. This has been in process for a long time and in a way the facts that are out there caught up with my movie because my movie came first Then suddenly we found out a few months ago that there was going to be disclosures but not ultimate disclosures like we're aiming for in our film.”

Red Panda Koala

21,249 次观看 • 3 个月前

Mark Zuckerberg: “I don’t believe in delegating” “There’s this theory that a lot of people have which is that the job of a leader is to hire people and delegate things to them. My theory is there is so much going on across the company that I can’t possibly be involved in all of it, so all these people are going to have a ton of stuff they’re going to do. But fundamentally, if there’s a decision that I want to be involved with, I’m going to be involved in it… I think that’s generally a good way for founders to operate.” Mark continues: “If you’re running the company and there’s something important — at whatever level of detail in the organization — I don’t get the logic of saying, ‘I’m not going to be involved in that.’” Of course you want to have humility that you may not have the most context immediately, but in Mark’s view, the CEO must take ownership of the company’s most important problems. To ensure that his time is constantly spent on the most important priority for the company, Mark has very few recurring meetings and tries to keep his schedule as open as possible: “II generally keep a bunch of time open so that stuff is pretty dynamic — I can wake up in the morning and be like, ‘OK, I need to work on these three things today, and I want to make sure I have a block of time where I can go do that.’” Video source: Stripe (2025)

Mark Zuckerberg: “I don’t believe in delegating” “There’s this theory that a lot of people have which is that the job of a leader is to hire people and delegate things to them. My theory is there is so much going on across the company that I can’t possibly be involved in all of it, so all these people are going to have a ton of stuff they’re going to do. But fundamentally, if there’s a decision that I want to be involved with, I’m going to be involved in it… I think that’s generally a good way for founders to operate.” Mark continues: “If you’re running the company and there’s something important — at whatever level of detail in the organization — I don’t get the logic of saying, ‘I’m not going to be involved in that.’” Of course you want to have humility that you may not have the most context immediately, but in Mark’s view, the CEO must take ownership of the company’s most important problems. To ensure that his time is constantly spent on the most important priority for the company, Mark has very few recurring meetings and tries to keep his schedule as open as possible: “II generally keep a bunch of time open so that stuff is pretty dynamic — I can wake up in the morning and be like, ‘OK, I need to work on these three things today, and I want to make sure I have a block of time where I can go do that.’” Video source: Stripe (2025)

Startup Archive

326,115 次观看 • 9 个月前

#WATCH | Delhi | On the abusive language used by him for rebel MPs, Shiv Sena UBT MP Sanjay Raut says, "We use such words in Marathi language. What is wrong in it? I very well know which language to use and when. Only a language which a person understands must be used. I have not used this language in the Parliament. What will you say about a person who leaves a party by accepting Rs 15 crores? Will you shower flower petals on such a person?"

#WATCH | Delhi | On the abusive language used by him for rebel MPs, Shiv Sena UBT MP Sanjay Raut says, "We use such words in Marathi language. What is wrong in it? I very well know which language to use and when. Only a language which a person understands must be used. I have not used this language in the Parliament. What will you say about a person who leaves a party by accepting Rs 15 crores? Will you shower flower petals on such a person?"

ANI

210,297 次观看 • 3 个月前

Sam Altman on his method for clear thinking: "I'm a huge notetaker. I go through one of these notebooks every two or three weeks." Sam has a very specific system for thinking clearly through writing. As he puts it: "You definitely want a spiral notebook because one thing that's important is you can rip pages out frequently. I take a bunch of notes and then I clearly rip them out so I can look at multiple pages at the same time, and I can crumple them up and throw them on the floor when I'm done." On why writing matters, even with AGI: "Writing is a tool for thinking, most importantly, and I don't think that's going anywhere. It's really important that people still learn to write for this reason. In the same way that even if there's going to be less traditional coding jobs, coding is a great way to learn to think too; you should still learn to code." His perfect writing environment? "I used to think like, oh, I got to get in the perfect place, and I got to set a time. Now I will take any 11 minutes uninterrupted that I can get sitting in the back of a car, laying in bed, whatever it is." He continues: “If I had a perfect thing it would be Saturday morning with a cup of coffee and nothing scheduled. But most of it happens in short chunks in the back of a car." On his rhythm for deep work: "I'm in the office kind of non-stop all week. I have no time to think, it's just crazy packed. And then on the weekends, I have long, quiet blocks and I'm not really around people. That cycle is very important to me."

Sam Altman on his method for clear thinking: "I'm a huge notetaker. I go through one of these notebooks every two or three weeks." Sam has a very specific system for thinking clearly through writing. As he puts it: "You definitely want a spiral notebook because one thing that's important is you can rip pages out frequently. I take a bunch of notes and then I clearly rip them out so I can look at multiple pages at the same time, and I can crumple them up and throw them on the floor when I'm done." On why writing matters, even with AGI: "Writing is a tool for thinking, most importantly, and I don't think that's going anywhere. It's really important that people still learn to write for this reason. In the same way that even if there's going to be less traditional coding jobs, coding is a great way to learn to think too; you should still learn to code." His perfect writing environment? "I used to think like, oh, I got to get in the perfect place, and I got to set a time. Now I will take any 11 minutes uninterrupted that I can get sitting in the back of a car, laying in bed, whatever it is." He continues: “If I had a perfect thing it would be Saturday morning with a cup of coffee and nothing scheduled. But most of it happens in short chunks in the back of a car." On his rhythm for deep work: "I'm in the office kind of non-stop all week. I have no time to think, it's just crazy packed. And then on the weekends, I have long, quiet blocks and I'm not really around people. That cycle is very important to me."

Jaynit

641,070 次观看 • 9 个月前

Andrei Tarkovsky's own comments about Mirror (1975) reflects how special this film was for him: "As I began work on Mirror, I found myself reflecting more and more that if you are serious about your work, then a film is not the next item in your career, it is an action which will affect the whole of your life. For I had made up my mind that in this film, for the first time, I would use the means of cinema to talk of all that was most precious to me, and do so directly, without playing any kinds of tricks."

Andrei Tarkovsky's own comments about Mirror (1975) reflects how special this film was for him: "As I began work on Mirror, I found myself reflecting more and more that if you are serious about your work, then a film is not the next item in your career, it is an action which will affect the whole of your life. For I had made up my mind that in this film, for the first time, I would use the means of cinema to talk of all that was most precious to me, and do so directly, without playing any kinds of tricks."

Auteur House

34,528 次观看 • 1 个月前

François Truffaut on why he got more pleasure in directing a child actor than an adult in his debut film, "The 400 Blows" (1959): "To shoot a film with children is very enticing beforehand, entails a lot of panic while it is happening (because it is a fearsomely challenging business that is always slipping through one’s fingers), and is immensely satisfying afterwards. Even when I have a feeling that everything is going adrift, there is always something that is salvageable, and no matter what happens, it is always the child who comes across best on the screen. I also think that I get more pleasure from directing a child than an adult because I am just starting out as a director, whereas adults have already had experience at acting. I tend to be intimidated by their “seniority,” and when they don’t want to do what I tell them, I sometimes give up the struggle, or else allow myself to be pulled along when they do their thing, and I am never sure I’m right. A child’s sincerity is something I think I can feel absolutely. For example, through the whole length of the film, I had to wrestle with Jean-Pierre Léaud. He was terrific, but he was scared that he was going to come across as unlikeable, which meant that he continually wanted to smile. For three whole months I prevented him from smiling … and I’m sure I was right. That said, I was amazingly lucky to come across that kid. He was the character. Better still, he improved the film. I had been seeing Antoine as more fragile, more timid, less aggressive, whereas Jean-Pierre gave him his robustness, his truculence, his courage. He was an invaluable collaborator. He was able to find the right gestures spontaneously, he adjusted the script, always for the better, and he used the words that he wanted to use." (Truffaut's interview to Arts, 1959) P.S: On this day, 67 years ago, "The 400 Blows" (1959) premiered at the Cannes Film Festival.

François Truffaut on why he got more pleasure in directing a child actor than an adult in his debut film, "The 400 Blows" (1959): "To shoot a film with children is very enticing beforehand, entails a lot of panic while it is happening (because it is a fearsomely challenging business that is always slipping through one’s fingers), and is immensely satisfying afterwards. Even when I have a feeling that everything is going adrift, there is always something that is salvageable, and no matter what happens, it is always the child who comes across best on the screen. I also think that I get more pleasure from directing a child than an adult because I am just starting out as a director, whereas adults have already had experience at acting. I tend to be intimidated by their “seniority,” and when they don’t want to do what I tell them, I sometimes give up the struggle, or else allow myself to be pulled along when they do their thing, and I am never sure I’m right. A child’s sincerity is something I think I can feel absolutely. For example, through the whole length of the film, I had to wrestle with Jean-Pierre Léaud. He was terrific, but he was scared that he was going to come across as unlikeable, which meant that he continually wanted to smile. For three whole months I prevented him from smiling … and I’m sure I was right. That said, I was amazingly lucky to come across that kid. He was the character. Better still, he improved the film. I had been seeing Antoine as more fragile, more timid, less aggressive, whereas Jean-Pierre gave him his robustness, his truculence, his courage. He was an invaluable collaborator. He was able to find the right gestures spontaneously, he adjusted the script, always for the better, and he used the words that he wanted to use." (Truffaut's interview to Arts, 1959) P.S: On this day, 67 years ago, "The 400 Blows" (1959) premiered at the Cannes Film Festival.

DepressedBergman

25,571 次观看 • 5 个月前

David Baldacci has sold 200 million books. His secret? Long books, no wasted words. "I've gotten to the point in my career now, if I used to write it in 100 words, I'd do my very best to write it in 10. Because the 100 is just lazy writing." "If the word is imprinted on that page in one of my books, it's there for a reason." "You can skim my books at your peril, because you're gonna miss stuff that you need to know."

David Baldacci has sold 200 million books. His secret? Long books, no wasted words. "I've gotten to the point in my career now, if I used to write it in 100 words, I'd do my very best to write it in 10. Because the 100 is just lazy writing." "If the word is imprinted on that page in one of my books, it's there for a reason." "You can skim my books at your peril, because you're gonna miss stuff that you need to know."

How I Write Clips

11,170 次观看 • 2 个月前

DeSean Jackson rejects football’s the live in the office coaching culture “I spent 15 years playing in the league. The last thing I want to do is go have a long schedule, 8 in the morning till 10 at night, because we know the coaches we played for, they was in there all day.” “I be in there probably like 6:30 in the morning, and I honestly be out by like two. But I tell my coaches, ‘Just because you there all day don’t mean nothing.’ You can still get out-schemed. You can still get out-worked.” “So I’m not one of those coaches that be like, ‘We got to be there 8 in the morning, 6 in the morning and 10 at night.’ Get in. Get your work done. When you done, man, you get up out of there. I feel like you can get your work done and get home to your family, because I’m not going to be in there all day.” “After a while, you just running up into a brick wall. You going to be miserable, frustrated, cussing out players, cussing out coaches. Nah, bro. I got to go reset.”

DeSean Jackson rejects football’s the live in the office coaching culture “I spent 15 years playing in the league. The last thing I want to do is go have a long schedule, 8 in the morning till 10 at night, because we know the coaches we played for, they was in there all day.” “I be in there probably like 6:30 in the morning, and I honestly be out by like two. But I tell my coaches, ‘Just because you there all day don’t mean nothing.’ You can still get out-schemed. You can still get out-worked.” “So I’m not one of those coaches that be like, ‘We got to be there 8 in the morning, 6 in the morning and 10 at night.’ Get in. Get your work done. When you done, man, you get up out of there. I feel like you can get your work done and get home to your family, because I’m not going to be in there all day.” “After a while, you just running up into a brick wall. You going to be miserable, frustrated, cussing out players, cussing out coaches. Nah, bro. I got to go reset.”

Josh Chambers

1,714,161 次观看 • 23 天前

🎥 || What is the last thing you want to prove in F1? Lewis: “I don’t do what I do to prove to anyone anything. I love what I do and I don’t wake up thinking I have to prove anything. That’s never a word in my vocabulary. I get up to be the best I can be, I’m always trying to see if I can push myself to the next level and I ask myself that question, can you go a step further?” “I feel there’s a long long way to go still left on the runway that I’m on, the journey that I’m on. I don’t have anything to prove to anyone.” 💥💥

🎥 || What is the last thing you want to prove in F1? Lewis: “I don’t do what I do to prove to anyone anything. I love what I do and I don’t wake up thinking I have to prove anything. That’s never a word in my vocabulary. I get up to be the best I can be, I’m always trying to see if I can push myself to the next level and I ask myself that question, can you go a step further?” “I feel there’s a long long way to go still left on the runway that I’m on, the journey that I’m on. I don’t have anything to prove to anyone.” 💥💥

sin ⁴⁴

74,199 次观看 • 6 个月前

On this day, 61 years ago, Sidney J. Furie's "The Ipcress File" (1965) was released in the U.K. On the first day of shooting, director Sidney J. Furie gathered the cast and said, "This is what I think of the script." He then set it on fire. Michael Caine on the incident: "The driver picked me up for the first day of shooting and asked me if I was an actor in the movie, and if I had read Len Deighton’s book. When I told him I was the lead in it, he told me, ‘The whole thing is a load of rubbish, isn’t it?’ Then, when I arrived on set, Sidney had everyone gather around. He asked if anyone had any matches, and I smoked at that time, so I handed mine over. Sidney took the script, lit the match, looked at everyone and said, ‘Here’s what I think of this script’ and set the match to it. That was his copy of the script, so he asked if anyone had another copy to consult after he had burned his own, so I gave him mine. But it was a gesture, an illustration. It was a hell of a way to be christened into being the lead in a film." Sidney J. Furie on the reason for the movie's peculiar style: "I was very depressed always when we started shooting, thinking that it was going to be really lousy and I didn’t know what to do, so I told myself I would come up with a style of shooting that is different. I put shoulders across the screen, I shot up at things, I shot down, just to make it different, to give it ambiance. It was done out of insecurity, with a little cognac spiked in my morning coffee to give me courage." ("Sidney J. Furie: Life and Films", Daniel Kremer, 2015)

On this day, 61 years ago, Sidney J. Furie's "The Ipcress File" (1965) was released in the U.K. On the first day of shooting, director Sidney J. Furie gathered the cast and said, "This is what I think of the script." He then set it on fire. Michael Caine on the incident: "The driver picked me up for the first day of shooting and asked me if I was an actor in the movie, and if I had read Len Deighton’s book. When I told him I was the lead in it, he told me, ‘The whole thing is a load of rubbish, isn’t it?’ Then, when I arrived on set, Sidney had everyone gather around. He asked if anyone had any matches, and I smoked at that time, so I handed mine over. Sidney took the script, lit the match, looked at everyone and said, ‘Here’s what I think of this script’ and set the match to it. That was his copy of the script, so he asked if anyone had another copy to consult after he had burned his own, so I gave him mine. But it was a gesture, an illustration. It was a hell of a way to be christened into being the lead in a film." Sidney J. Furie on the reason for the movie's peculiar style: "I was very depressed always when we started shooting, thinking that it was going to be really lousy and I didn’t know what to do, so I told myself I would come up with a style of shooting that is different. I put shoulders across the screen, I shot up at things, I shot down, just to make it different, to give it ambiance. It was done out of insecurity, with a little cognac spiked in my morning coffee to give me courage." ("Sidney J. Furie: Life and Films", Daniel Kremer, 2015)

DepressedBergman

55,961 次观看 • 6 个月前

“A really good manager's job is build a really good team and eventually get replaced. You owe it to every single person in your company to make sure the best person is in the right role at any given time. If we were complacent and said, "You're a VP because you've been here 10 years, the person underneath who's been here two years, that is much better, that we're not getting into that VP role, is going to leave. That person is going to leave and start their own business. I don't want to lose the best talent. I want, at any given moment, the best talent in the most important roles. So we always do that trade. And if you don't do that trade it's really depressing because you end up with these really long-tenured people who end up in all these really important seats, but all your fresh blood is churning despite having more upside. You could've given them room to grow.”

“A really good manager's job is build a really good team and eventually get replaced. You owe it to every single person in your company to make sure the best person is in the right role at any given time. If we were complacent and said, "You're a VP because you've been here 10 years, the person underneath who's been here two years, that is much better, that we're not getting into that VP role, is going to leave. That person is going to leave and start their own business. I don't want to lose the best talent. I want, at any given moment, the best talent in the most important roles. So we always do that trade. And if you don't do that trade it's really depressing because you end up with these really long-tenured people who end up in all these really important seats, but all your fresh blood is churning despite having more upside. You could've given them room to grow.”

David Senra

17,359 次观看 • 5 个月前

Blake Edwards on the conditions he laid out before accepting to direct "A Shot in the Dark" (1964): "'A Shot in the Dark' (1964) is nothing like Marcel Archard’s play, that’s for a start. I was asked to save the situation. They had quite a bit of money involved in this project. Peter Sellers was threatening to pull out because he didn’t like the screenplay. He said that the only way he would continue with the project would be if I took it over. I said that the only way I could possibly take it over, under such emergency conditions, would be that I would not be obliged to do anything like Archard’s play because a) I didn’t like it, b) I thought it was not a motion picture and c) I wasn’t ready to make a movie at that point. So they asked me what I wanted to do because the picture had to start in something like four weeks. I said that if they wanted me to save them, I’d have to take something with which I was familiar to begin with. I was familiar with the character of Clouseau. I needed a detective, somebody to solve a murder. I couldn’t throw the whole thing out. I had to use the idea that the maid was accused of killing the chaffeur and this had to be solved. So I thought that Peter Sellers was just the natural thing and that now I was going to try to be as broad with the character as I could be. “How far can I go now in terms of Inspector Clouseau?” I wrote the screenplay and was on the stage in four weeks with it. Fortunately, it turned out to be a reasonably funny movie. It proved something for me—that if a gag is well-designed you can pull it off." (Blake Edwards' interview with Jean-Francois Hauduroy, Cahiers du cinéma, 1966) P.S: On this 62 years ago, "A Shot in the Dark" (1964) premiered in New York City, USA.

Blake Edwards on the conditions he laid out before accepting to direct "A Shot in the Dark" (1964): "'A Shot in the Dark' (1964) is nothing like Marcel Archard’s play, that’s for a start. I was asked to save the situation. They had quite a bit of money involved in this project. Peter Sellers was threatening to pull out because he didn’t like the screenplay. He said that the only way he would continue with the project would be if I took it over. I said that the only way I could possibly take it over, under such emergency conditions, would be that I would not be obliged to do anything like Archard’s play because a) I didn’t like it, b) I thought it was not a motion picture and c) I wasn’t ready to make a movie at that point. So they asked me what I wanted to do because the picture had to start in something like four weeks. I said that if they wanted me to save them, I’d have to take something with which I was familiar to begin with. I was familiar with the character of Clouseau. I needed a detective, somebody to solve a murder. I couldn’t throw the whole thing out. I had to use the idea that the maid was accused of killing the chaffeur and this had to be solved. So I thought that Peter Sellers was just the natural thing and that now I was going to try to be as broad with the character as I could be. “How far can I go now in terms of Inspector Clouseau?” I wrote the screenplay and was on the stage in four weeks with it. Fortunately, it turned out to be a reasonably funny movie. It proved something for me—that if a gag is well-designed you can pull it off." (Blake Edwards' interview with Jean-Francois Hauduroy, Cahiers du cinéma, 1966) P.S: On this 62 years ago, "A Shot in the Dark" (1964) premiered in New York City, USA.

DepressedBergman

20,460 次观看 • 3 个月前

Béla Tarr on how the concept of time works in "Sátántangó" (1994): "Interviewer: Did you have any problems when you first wanted to make the film in the ‘80s? How did you start work on the film? Tarr: It was mostly a political problem. We couldn't start in the ‘80s because of censorship from the communist government at the time, but by the early ‘90s it became possible to do it and it took four years to do, from 1990 to 1994. You have to understand. This man [Lázsló] was living in the Hungarian lowlands, and he saw a lot of things in the reality of how people were living, and of course he transformed it and created this beautiful novel. I understood when I started working on this project that I cannot do any kind of adaptation. I had to go back to the Hungarian lowlands, like him. I had to see how life is going on out there, and I had to find the film language, I had to figure out how I can get the same stuff that he did in the novel. By the end, I spent two years in the Hungarian lowlands filming, I can tell you I know all the houses, I know all f***ing roads, I know everything in this part of the country. By the end of my time there I could find the way to film and afterwards we could use the dramaturgical structure of the novel, and of course we did not have a script, we had only the novel and my vision. That's all we had. Interviewer: What about the sense of time that you found in that place? Tarr: Hey man, if you are sitting in the Hungarian lowlands, I'm sure it's the same in the desert in, let's say, Arizona, when you are out there: there is no time, no distance anymore, you can go hours, weeks, and you don't see anything. You are out of time; you have a different sense of time then when you are living in a town. And so, the slowness of the drama came from this. You know, you have to understand that first you have to know the life of the places and then afterwards you have a feeling for how you have to film it." ("I Am Interested in the World, Not Just in Filming It": Béla Tarr on "Sátántangó", David Perrin, MUBI, 2019) P.S: Remembering the great Hungarian filmmaker, Béla Tarr, on his 71st birthday!

Béla Tarr on how the concept of time works in "Sátántangó" (1994): "Interviewer: Did you have any problems when you first wanted to make the film in the ‘80s? How did you start work on the film? Tarr: It was mostly a political problem. We couldn't start in the ‘80s because of censorship from the communist government at the time, but by the early ‘90s it became possible to do it and it took four years to do, from 1990 to 1994. You have to understand. This man [Lázsló] was living in the Hungarian lowlands, and he saw a lot of things in the reality of how people were living, and of course he transformed it and created this beautiful novel. I understood when I started working on this project that I cannot do any kind of adaptation. I had to go back to the Hungarian lowlands, like him. I had to see how life is going on out there, and I had to find the film language, I had to figure out how I can get the same stuff that he did in the novel. By the end, I spent two years in the Hungarian lowlands filming, I can tell you I know all the houses, I know all f***ing roads, I know everything in this part of the country. By the end of my time there I could find the way to film and afterwards we could use the dramaturgical structure of the novel, and of course we did not have a script, we had only the novel and my vision. That's all we had. Interviewer: What about the sense of time that you found in that place? Tarr: Hey man, if you are sitting in the Hungarian lowlands, I'm sure it's the same in the desert in, let's say, Arizona, when you are out there: there is no time, no distance anymore, you can go hours, weeks, and you don't see anything. You are out of time; you have a different sense of time then when you are living in a town. And so, the slowness of the drama came from this. You know, you have to understand that first you have to know the life of the places and then afterwards you have a feeling for how you have to film it." ("I Am Interested in the World, Not Just in Filming It": Béla Tarr on "Sátántangó", David Perrin, MUBI, 2019) P.S: Remembering the great Hungarian filmmaker, Béla Tarr, on his 71st birthday!

DepressedBergman

12,597 次观看 • 2 个月前

Brazilian President Lula: From time to time Trump tells me: "Mr. President, I’m imposing tariffs on the world because I have the best army in the world, I have the best navy in the world, I have the best rockets in the world." And I tell him: "Trump, I don’t want war with you. I don’t want war with you. I want to defeat you in the narrative. I want to defeat you." That’s why I’ve already written, I think, three articles for The New York Times. I want to talk to the American people about him. And that’s why he treats me with respect. And it’s good that he treats me with respect, because I treat everybody with respect. That’s all I want: respect.

Brazilian President Lula: From time to time Trump tells me: "Mr. President, I’m imposing tariffs on the world because I have the best army in the world, I have the best navy in the world, I have the best rockets in the world." And I tell him: "Trump, I don’t want war with you. I don’t want war with you. I want to defeat you in the narrative. I want to defeat you." That’s why I’ve already written, I think, three articles for The New York Times. I want to talk to the American people about him. And that’s why he treats me with respect. And it’s good that he treats me with respect, because I treat everybody with respect. That’s all I want: respect.

Clash Report

34,864 次观看 • 8 天前