May 21, 2013
a-bittersweet-life:

Fortunately, somewhere between chance and mystery lies imagination, the only thing that protects our freedom, despite the fact that people keep trying to reduce it or kill it off altogether.
Luis Buñuel

a-bittersweet-life:

Fortunately, somewhere between chance and mystery lies imagination, the only thing that protects our freedom, despite the fact that people keep trying to reduce it or kill it off altogether.

Luis Buñuel

May 21, 2013

linuz90:

Orson Welles on film editing:

Movies aren’t just made on the set, a lot of the actual making happens right here [in the editing room]

Here films are saved sometimes from disaster […]

This is the last stop on the long road between the dream in the filmmaker’s head and the public. […]

A film is never right until it’s right musically. And this moviola, this filmmaker’s tool, is a kind of musical instrument.

Via Filmmaker IQ

May 20, 2013
"Filmmaking is a chance to live many lifetimes."

— Robert Altman (via dblevins)

May 20, 2013
"You have to fight every day to stop censoring yourself, and you never have anyone else to blame when you do. What happens to artists is that it’s not that somebody’s standing in their way. The compromise really isn’t how or what you do, the techniques you use, or even the content, but really the compromise is beginning to feel a lack of confidence in your innermost thoughts. And if you don’t put your innermost thoughts on the screen, then you are looking down on not only your audience but the people you work with, and that’s what makes so many people working out there unhappy. These innermost thoughts become less and less a part of you and once you lose them then you don’t have anything else. So many people have so much to say and there are so many really worthwhile things to say that it seems impossible that we cut ourselves off from this whole avenue of enormous excitement."

— John Cassavetes (via gronalund)

(Source: hungryartist.tripod.com, via mrgregfrancis)

May 19, 2013
"Cinema is a specificity of vision, it’s an approach in which everything matters. It’s the polar opposite of generic or arbitrary and the result is as unique as a signature or a fingerprint. It isn’t made by a committee, and it isn’t made by a company, and it isn’t made by the audience. It means that if this filmmaker didn’t do it, it either wouldn’t exist at all, or it wouldn’t exist in anything like this form."

— Steven Soderbegh (via moleary)

(via mrgregfrancis)

May 19, 2013

zablotny:

dir. martin de thurah

I work in quite an intuitive way so it’s important for me to maintain the thrill of expressing new kinds of feeling.”

May 18, 2013
director jeffrey zablotny: fincher, on a shot without personality

zablotny:

the continuous shot through the house in ‘panic room’, specifically the segment through the kitchen, was well documented as a visual effects nightmare with many failed attempts, each reboot requiring more and more labour-intensive work. below, david fincher defends the shot’s cold, mechanical…

May 18, 2013

zablotny:

cinematographer eigil bryld on designing a uniform look for ‘house of cards’ with director david fincher:

fincher’s ground rules included “no steadicam, no handheld and no zoom lenses.” […] “to a great extent, moves are on the dolly or the boom.  we wanted to use the space more so people would grow larger in the frame or move away and get smaller.  we went for a more composed look; even though we had very shallow focus, we tried to create deep compositions all the time to add a sense of drama and power, and the 2:1 aspect ratio really helped with that.”

the entire show was shot on arri/zeiss master primes, mostly the 27mm and 35mm.  ”we used longer lenses at times for close-ups, but we never wanted the sense of space to disappear,” says bryld.”

zoe barnes gets three sizes of coverage in the scene above, each inching higher and closer to the eyeline.

also, the A and B cameras are usually kept very close, often stacked one on top of the other.  ”we typically had one camera doing a low-angle wide over and the other doing a tight over,” says bryld.  continuity is key.  ”if you have perfect continuity, i think it almost creates a hypnotic universe, like you’re almost experiencing something in real time.  in fincher’s world, you have to respect space and time, and two cameras help with that.”

April 17, 2013
"I think it is a directors job to secretly wish they had everybody else’s job. Not to think that they’re better at it but just to really wish they could do it because I wanna be the costumer, wanna design the props, I wanna be the stunt guy I want to do all their jobs. If you don’t want to do all their jobs then you don’t really care about what they’re doing and it’s gonna slide and people are gonna notice."

— Joss Whedon (via tanjatheawesome)

(via goingforpicture)

1:51pm  |   URL: http://tmblr.co/ZZjC0yitZXWo
  
Filed under: joss whedon 
April 15, 2013
mrsalabamaworley:

“I believe life is nothing if you’re not obsessed. I only think terrible thoughts, I do not live them. Thank God I am not my films. If audiences can laugh at my twisted ideas, what’s the great harm? I had a goal in life — I wanted to make the trashiest motion pictures in cinema history. Thanks so much for allowing me to get away with it.” - John Waters

mrsalabamaworley:

“I believe life is nothing if you’re not obsessed. I only think terrible thoughts, I do not live them. Thank God I am not my films. If audiences can laugh at my twisted ideas, what’s the great harm? I had a goal in life — I wanted to make the trashiest motion pictures in cinema history. Thanks so much for allowing me to get away with it.” - John Waters

(via fuckyeahdirectors)