SUMMER MOVIES; On Filming a Gonzo Vision: A Gonzo Dialogue (Published 1998)
nytimes.com
SUMMER MOVIES; On Filming a Gonzo Vision: A Gonzo Dialogue (Published 1998)
Hmm, where were we? Ah, yes, he was talking about how movies can be built or deconstructed because of Killers, which has the elliptical, episodic structure of many of his other films. Less narrative, more atmosphere, more information by way of anecdote, by way of scene, by way of character. “What I had hoped to do, and I didn’t do this intentionall... See more
Martin Scorsese: “I Have To Find Out Who The Hell I Am.”
Again, why do films have to be these static, fixed things? Why can’t they be these fluid, storytelling structures that you could keep adding things to and keep revising? Yeah, it’s always been this constraint of the medium, that now, when everything is digital, there’s no physical media that we’re dealing with with film. So, why are we still held b... See more
The making of Eno, the first generative feature film
Agalia Tan added
Martin Scorsese: “I Have To Find Out Who The Hell I Am.”
Photography Bruce Gilden/Magnum Photosgq.com
The movie is thoroughly a product of Seventies sensibility: the integrity of things as they already stand, the presentation of a text as a concrete object, and out-front admission of the means of production.
Robert Polito • Farber on Film: The Complete Film Writings of Manny Farber: A Library of America Special Publication
David Lynch on the limitations of language:
“Cinema is a language. It can say things—big, abstract things. And I love that about it. I’m not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you’ve got time and sequen... See more
sari and added
If a filmmaker (who writes) can get through those 120 or so pages, the fun part begins. Actually, every stage of filmmaking is full of torment and endless setbacks, but you’re no longer alone. The truth is, I’m never as happy as when I’m making a film, not so much because I'm actively enjoying it; the unrelenting stress, the prospect of failure, th... See more
Divine Thing: A Note from Aaron Schimberg
What’s funny about this is that at the time some theorists tried to rationalize what was going on. Some even claimed that we were in a new age, one of “limited animation,” where too much emphasis on making drawings move only hindered story development. They started saying that use of the tome-e, still images employed for effect, was a “new form of
... See moreHayao Miyazaki • Starting Point: 1979-1996
Arranging things end to end like this is the first step when you edit a film. In cinema jargon this first version is called the assembly cut, and nobody in their right mind can believe it’ll result in something watchable – or readable if it’s a book. And then, once you’ve overcome the urge to toss the whole thing out, you get down to work, you asse
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