Micky was a hard taskmaster. He could be very unkind. He was out to judge people, I think pretty quickly, and once he’d made a decision, he never altered it. If he didn’t like you for one reason or another, it was best to leave. On the other hand, with the people he liked and respected, he was wonderful and was very loyal. He was one of those people who liked to be challenged. He liked people to stand up to him, and most people ran away.
Christopher ChallisMots clés cinema cinematography
Avoid the tyranny of the reasonable voice...it will guarantee a complacency of never trying anything adventurous...
J. Michael StraczynskiMots clés film movies cinema motion-pictures
The body lay outside an abandoned, boarded-up theater. The theater had started as a first-run movie house, many years back when the neighborhood had still been fashionable. As the neighborhood began rotting, the theater began showing second-run films, and then old movies, and finally foreign-language films.
Ed McBainMots clés film hard-boiled cinema
I might have remembered what my father once wrote to Henry George, "I never do anything by halves, and am half hearted in no cause that I embrace.
Cecil B. DeMilleMots clés cinema cecil-b-demille
No visām mākslām un izklaidēšanās veidiem visvairāk apstrīdētā ir filma.
Anšlavs EglītisMots clés cinema
An artist is a provincial who finds himself somewhere between a physical reality and a metaphysical one. It’s this in-between that I’m calling a province, this frontier country between the tangible world and the intangible one. That is the realm of the artist.
Federico FelliniTony Williams: You’ve often mentioned that Tales of Hoffmann (1951) has been a major influence on you.
George Romero: It was the first film I got completely involved with. An aunt and uncle took me to see it in downtown Manhattan when it first played. And that was an event for me since I was about eleven at the time. The imagery just blew me away completely. I wanted to go and see a Tarzan movie but my aunt and uncle said, “No! Come and see a bit of culture here.” So I thought I was missing out. But I really fell in love with the film. There used to be a television show in New York called Million Dollar Movie. They would show the same film twice a day on weekdays, three times on Saturday, and three-to-four times on Sunday. Tales of Hoffmann appeared on it one week. I missed the first couple of days because I wasn’t aware that it was on. But the moment I found it was on, I watched virtually every telecast. This was before the days of video so, naturally, I couldn’t tape it. Those were the days you had to rent 16mm prints of any film. Most cities of any size had rental services and you could rent a surprising number of films. So once I started to look at Tales of Hoffmann I realized how much stuff Michael Powell did in the camera. Powell was so innovative in his technique. But it was also transparent so I could see how he achieved certain effects such as his use of an overprint in the scene of the ballet dancer on the lily ponds. I was beginning to understand how adept a director can be. But, aside from that, the imagery was superb. Robert Helpmann is the greatest Dracula that ever was. Those eyes were compelling. I was impressed by the way Powell shot Helpmann sweeping around in his cape and craning down over the balcony in the tavern. I felt the film was so unique compared to most of the things we were seeing in American cinema such as the westerns and other dreadful stuff I used to watch. Tales of Hoffmann just took me into another world in terms of its innovative cinematic technique. So it really got me going.
Tony Williams: A really beautiful print exists on laserdisc with commentary by Martin Scorsese and others.
George Romero: I was invited to collaborate on the commentary by Marty. Pat Buba (Tony’s brother) knew Thelma Schoonmaker and I got to meet Powell in later years. We had a wonderful dinner with him one evening. What an amazing guy! Eventually I got to see more of his movies that I’d never seen before such as I Know Where I’m Going and A Canterbury Tale. Anyway, I couldn’t do the commentary on Tales of Hoffmann with Marty. But, back in the old days in New York, Marty and I were the only two people who would rent a 16mm copy of the film. Every time I found it was out I knew that he had it and each time he wanted it he knew who had it! So that made us buddies.
Mots clés cinema
MINISTER: All he has done is to find some means of bewitching the intelligence. He has only induced a radical suspension of disbelief. As in the early days of the cinema, all the citizens are jumping through the screen to lay their hands on the naked lady in the bathtub!
AMBASSADOR: And yet, in fact, their fingers touch flesh.
MINISTER: They believe they do. Yet all they touch is substantial shadow.
AMBASSADOR: And what a beautiful definition of flesh! You know I am only substantial shadow, Minister, but if you cut me, I bleed. Touch me, I palpitate!
Mots clés flesh shadow desire cinema
I submit that the real reason we criticized and disliked Lynch's Laura's muddy bothness is that it required of us an empathetic confrontation with the exact same muddy bothness in ourselves and our intimates that makes the real world of moral selves so tense and uncomfortable, a bothness we go to the movies to get a couple hours' fucking relief from.
David Foster WallaceMots clés film cinema david-lynch twin-peaks david-lynch-keeps-his-head
Expanded cinema isn't a movie at all: like life it's a process of becoming.
Gene YoungbloodMots clés cinema
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