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The whole premise of the film ["The Look of Silence" ] is that, through my closeness to him, viewers are forced to become intimate with him also and most viewers, I think, will feel some empathy with him, though not sympathy, which is a very different thing. And, of course, some viewers will resist that, kicking and screaming, and say, ‘These men are monsters! I shouldn't be feeling this way.'
Joshua Oppenheimer, Why I returned to Indonesia's killing fields, 7 June 2015

The relationship between memory and imagination is very mysterious. If you tell me a story about something that happened on the way here from the airport, you are already applying imagination to memory. And it's the same thing with the film. The one thing I always regretted about Hope and Glory is that it was based on my childhood memories, and now I have lost all those memories and can only remember the film. And now this has come along and usurped my memories as well. That scene with my first cigarette, for example, it was such a vivid memory. It does not feel so vivid any more.
John Boorman, ‘Deliverance would be impossible to make today', 4 June 2015

And what happened immediately [after coming out], according to friends, is I became not just a happier person, but a better actor. I think up to that point, I had been using acting as a disguise -- somewhere where I could express my emotions, and draw attention to myself in a way that I didn't particularly want to do in real life. Acting became not about disguise, but about telling the truth. And my emotions became much freer. I was able to act better as I think you are able to do any job. Everyone's better if they're being honest.
Ian McKellen, 5 Things We Learned From Sir Ian McKellen, 3 June 2015

People in the west always like the idea that someone else is racist. It's true that it's easier in Russia to run into someone who calls an African a monkey. But in London, you can easily get into a lift with a racist. You just wouldn't know it, because they'll smile at you.
... When Mali was a colony, there was one bridge on the river Niger that goes through Bamako. After independence, the French were supposed to build a second. They never did. In the end, the second bridge was built by Saudi Arabia. The third was built by China. All the sports grounds have been built by the Chinese. The roads are being built by the Chinese. And in the west, they keep telling us, ‘Watch out for the Chinese.' The west thinks China is a danger to Africa because the west was a danger to Africa. But really it's a danger to the west.
Abderrahmane Sissako, Timbuktu's director: why I dared to show hostage-taking jihadis in a new light, 28 May 2015

To portray a jihadist as simply a bad guy, who does not in any way resemble me, who's completely different, that's not completely true. [The jihadist is] a fragile being. And fragility is an element that can make anybody tip over into horror.
Abderrahmane Sissako, The vanguard of African cinema, 28 May 2015

Religions are the first examples of cinema and gods are the first film stars; they are presented as colourful pictures, are unreachable and remain the last hope. So why be surprised when film stars become godlike figures?
Sundar Sarukkai, Salman Khan: how a Bollywood star can stay out of jail, 6 May 2015

Two loves I have, of comfort and despair,
Which like two spirits do suggest me still:
The better angel is a man right fair;
The worser spirit a woman coloured ill.
To win me soon to hell my female evil
Tempteth my better angel from my side,
And would corrupt my saint to be a devil,
Wooing his purity with her foul pride.
And whether that my angel be turned fiend
Suspect I may, yet not directly tell,
But being both from me, both to each friend,
I guess one angel in another's hell.
Yet this shall I ne'er know, but live in doubt,
Till my bad angel fire my good one out.
William Shakespeare, Sonnet 144

What do you think is the cosmological effect of Zayn leaving One Direction and consequently breaking the hearts of millions of teenage girls across the world?
Finally, a question about something important. My advice to any heartbroken young girl is to pay close attention to the study of theoretical physics, because one day there may well be proof of multiple universes. It would not be beyond the realms of possibility that somewhere outside of our own universe lies another different universe – and in that universe, Zayn is still in One Direction.
Stephen Hawking, Zayn Malik is still in One Direction in a parallel universe,
27 April 2015

We live in the most conservative nuclear family time ever. For me, the film [ "Force Majeure" ] is such an obvious attack on this lifestyle. [ The film had three ambitions: ] To reduce alpine tourism, increase divorce rates, and make the most spectacular avalanche scene in history.
Ruben Östlund, Why my part as the coward father was so hated, by Force Majeure star, 26 April 2015

One of the most painful things that can happen to a human being is to lose their identity. For men, losing our identity is very connected with being a coward. That's what annoys me when women think Tomas [ in "Force Majeure" ] is an arsehole. Because they're as much victims of gender expectation as anyone else. In our society there's a slight feeling of shame about being a man. Trying to deal with [our] basic behaviour and put it into culture today.
... The most reproduced character in Hollywood is the man as the hero. From an ideological perspective, if we hadn't reproduced that main character it would be impossible to send young men into war. Men are made to feel like they should stand up and protect someone. We should sacrifice ourselves for a bigger meaning.
Ruben Östlund, 'Men are made to feel like they should protect', 9 April 2015

Underneath the superficial variation, horror shows a remarkably stable structure over time. Horror is designed to freak out its audience, and because of our biological construction, there's only a limited number of ways of effectively freaking out people. That's why even an apparently super-modern film like "Unfriended" has to resort to a thousand-year-old horror monster – the malevolent, dangerous ghost – to freak out its audience.
Mathias Clasen, I know who you Skyped last summer: how Hollywood plays on our darkest digital fears, 23 April 2015

Where does your anxiety come from?
I've had it since I was a child. I believe that if you are an artist and you're drunk (laughing ), you're more sensitive. I have this theory: scientists say that 80% of our mental work is to stop the senses. So we have filters to block useless information. But if you are sensitive, then it means these filters are a bit broken.
You're obviously rebelling against something in each film you've made. What are you are rebelling against?
Rebelling is part of my family. If you come to a family gathering, the family says something, you have to say something else. Then my family met my wife's family, who said yes to everything, but my family often said no. If I see a form or a concept, I'd naturally challenge it, to see if there's any possibility to gain more from it.
Why is sex essential to your films?
I came from a nudist family. I don't know what that has to do with sex ... it's the matter of being real. We did it as real as we could by using porn doubles and computer graphics.
Lars von Trier, ‘I've started drinking again, so I can work', 20 April 2015

We tried to force the character into a labyrinth where there's no way out. So we wanted it to feel like there was no sense of geographical orientation. At the same moment that he loses focus on where he is — he loses his horse, his rifle, and he's lost in this strange land he can't understand — he starts to lose his mind because he's shocked by the realization that his daughter is gone. We tried to sync the natural images with the idea of the main character losing focus. At the end, in the cave, I don't know if the old woman he sees is his imagination, if she's the girl or whatever. There are a lot of questions about who is who and I have no answers for them. But I think they work in the film. I cannot explain why, but it makes a strange sort of sense. It's the way I feel when you go to a museum and you see a painting. Maybe you think, "What the fuck is that?" But you keep looking at it, because there's something in it that you feel a connection to.
Lisandro Alonso, Lisandro Alonso On Why Viggo Mortensen Was the Ideal Partner for 'Jauja', March 20, 2015

Well, I like to think that I'm gay in my art and straight in my life. Although, I'm also gay in my life up to the point of intercourse, and then you could say I'm straight. So I guess it depends on how you define gay . If it means whom you have sex with, I guess I'm straight. In the twenties and thirties, they used to define homosexuality by how you acted and not by whom you slept with. Sailors would fuck guys all the time, but as long as they behaved in masculine ways, they weren't considered gay.
James Franco, James Franco Is Gay—Well, At Least Half of Him Is, 16 March 2015

If you and I knew that we had to make lunch for five people, we could have a lot of fun with that. We could serve something pretty interesting, we could shop and it's pretty manageable. If we decide to serve 5,000 people, we're gonna quickly decide to serve hotdogs and hamburgers. And that's what happens inside most mainstream movies. So you start just homogenizing everything, one of the reasons I love the genre movies I've done --
... When I first met Richard Linklater we were doing a press conference. We were shooting and here was Julie Delpy, she'd worked with some amazing French filmmakers; Rick was the voice of the slacker generation and I was the poster boy of the slacker generation. We did this press conference with like 10 journalists or something and Rick talked with so much love. They expected him to talk about being hip or something and all he wanted to talk about was film history. They wanted him to talk about Generation X and the '90s and he was like, "I don't give a shit about Generation X, I want people to be interested in this movie 50 years from now. I want people who are 85 to be interested in it. I want it to speak about something true and human, not something of the moment."
Ethan Hawke, Ethan Hawke on How Indies are Gourmet and Blockbusters are a Barbecue, March 12, 2015

It's a mystery to me. I was in my prime. When the 1960s ended, I just ended with it. I remember my agent telling me: ‘They are all looking for a young Terence Stamp.' And I thought: ‘I am young.' I was 31, 32. I couldn't believe it. It was tough to wake up in the morning, and the phone not ringing. I thought: this can't be happening now, it's only just started. The day-to-day thing was awful, and I couldn't live with it. So I bought a round-the-world ticket and left.
... I don't have any ambitions. I'm always amazed there's another job, I'm always very happy. I've had bad experiences and things that didn't work out; my love for film sometimes diminishes but then it just resurrects itself. I never have to gee myself up, or demand a huge wage to get out of bed in the morning. I've done crap, because sometimes I didn't have the rent. But when I've got the rent, I want to do the best I can.
Terence Stamp, ‘I was in my prime, but when the 60s ended, I ended with it',
12 March 2015

If you're struggling with a disease like this [ALS], it's important to feel you still matter. And it's ironic that in my deteriorated state I was able to make a film that, creatively, is everything I'd ever wished for.
Richard Glatzer, Director Richard Glatzer Dies at 63, March 11, 2015

Of all the labels and tags and epithets people have forced upon me, there's one I don't dislike. I get called the ‘enfant terrible'. In every article, it's always there. So I have to give that a meaning.
... When I first got to Cannes, I was very insecure about everything, so I put on this extravagant facade. Can you blame me? I was 19.
... [Now] I don't feel insecure any more. But I do doubt. I doubt everything: my ideas, my choices, my behaviour, my decisions. I just don't doubt my ability to achieve things if I don't succumb to the fear of displeasing people – or the obsession with pleasing them.
Xavier Dolan, ‘I just want to express myself – like Madonna', 10 March 2015

In each country, hopefully I'll find one person with a story good enough that it'll make me want to get off the train with them.
Albert Maysles, "Cameras Keep Rolling at Maysles Films"

I am 120,000 [British] pounds in personal debt. I took money out of my child's school account to fund this movie [“India's Daughter” ] . Documentaries don't make money. You do them because you have something passionate to say.
Leslee Udwin, ‘I am standing my ground for this film,' says maker of Indian rape documentary, March 6, 2015

"Stop stealing all the white people's superheroes. Make up your own"...
What I really meant was that ultimately at the end of the day there's a language and the language that you speak in Hollywood is ‘successful franchise' and I think that there are many cultures in Hollywood that are not white that can come up with their own mythology... I'm just saying that instead of trying to turn a girl character into a guy or instead of trying to turn a white character into a black character or a Latin character, I think the people should stop being lazy, and that people should actually make an effort in Hollywood to develop their own mythology... I'm considering this while I'm out there coming up with projects to do and things to write. I think it's time for us to write our own mythology and our own story.
Michelle Rodriguez, Michelle Rodriguez apologises for telling minorities to 'stop stealing white superheroes', 2 March 2015

The turning point was very difficult. It was the highest award I got when I was young, which was the Golden Palme, and that made me realize how much expectations it creates. After that it was like, "OK, this kid from Germany got the Golden Palme and his film is very successful, now please continue doing stuff like that." It really brought me to a grinding halt creatively. For the next movie I made, only three years later, by choice I made it the most opposite film I could imagine, and that was "Wings of Desire." I thought they would tear me to pieces for it because there was nothing like it, but at least I knew I didn't owe it to anyone's expectations. Awards have that danger that they can create expectations, and of course the world is done this way -- anyone who does something successful, be it a musician, painter or writer, immediately everyone wants them to continue doing what they do. But I never wanted to continue doing what I was doing just because I knew how to do it. I think that's an incredible temptation and also a terrible trap. 
... I was able to work in the '70s with half a page of the script to start with. With "Kings of the Road" we had half a script, just the basis of the plot. "Wings of Desire" was done without any script. Today that is practically impossible because financing is no longer from one source. You need lots of funding and co-productions. A fictional film needs a different kind of commitment. You can no longer just say you have these great ideas and I want to start tomorrow [laughs]. But in documentaries you can.
Wim Wenders, Wim Wenders on the Trap of Awards, His Approach to 3D and His Love for James Franco, February 11, 2015

We got four nominations tonight, and you BAFTA are a democratic gang and your taste is your prerogative. What is important to me is that you have awarded me this fellowship for which I am truly grateful. 'For me this is a sign of your respect for an offbeat alternative, idiosyncratic personal kind of cinema. Pure independent cinema are the filmmakers of the future.
... It's great to share this stage with tonight's winning Boyhood which Dick Linklater and his team can be extraordinarily proud. I have made twenty full length films all starting without a script and none of them has ever been interfered with by anyone at any time. If that wasn't the case I wouldn't be standing here now. Thank you to everyone I have ever worked with, in front of and behind the camera.
Mike Leigh, 'This is very nice indeed', 9 February 2015

Fewer, perhaps, are aware that he was born Maurice Henri Joseph Scherer in Tulle in March 1920, and that Eric Rohmer was a pseudonym he first used in the 1950s. At the first four interviews I had with him over the years, I asked why he'd adopted this name. Because,he explained, he'd had to conceal the fact that he worked in film from his mother, a bourgeoise who would've been deeply disappointed, even shocked, by his involvement in cinema. Indeed, he'd let her believe he was a teacher of classics until her death in 1970, by which time he was one of France's most succesful directors.
Geoff Andrew, The Double Life of Eric Rohmer, Sight & Sound, February 2015

Inevitably, there's only one rule in this kind of movie: when you stop shooting, that's when the best thing is going to happen. Sometimes you'll be shooting something very boring, but you have to continue and persevere, because it's completely unpredictable the way things are going to go. It's happened to me before and I've learned from experience.
Frederick Wiseman, The Interview, Sight & Sound, February 2015

It doesn't take you long to realize that other people forget your successes [laughs]. You read a review for somebody playing a part that you played and they get exactly the same review that you got – and you realize it's not the actor at all, it's the fabulous role we were both playing. So I don't hold on to past successes. And when I see myself in things that were highly praised at the time I think, I could have done better than that. So you have to live in the present.
Ian McKellen, Ian McKellen on Why He Works So Hard and Doesn't Look Back,
February 9, 2015

[ "Boyhood" ]'s theme is pertinent. While girls do their homework, conform and succeed, boys are increasingly mired in moody recalcitrance. Stepdads and teachers urge discipline on Boyhood's unruly hero. He gamely resists. Nonetheless, he ends up scoring a hot chick and looking set on the path towards an enviable career.
David Cox, Was this the year cinema chickened out?, Thursday 5 February 2015


'Hurt Locker' made $17million because it was a little ambiguous and thoughtful... [American Sniper] is just "American hero! He's a psychopath patriot, and we love him."
Bill Maher, Michael Moore goes on ANOTHER rant about American Sniper as conservatives like Sarah Palin continue to defend film, 25 January 2015

I started my career, thankfully maybe, with a first feature that I'm really proud of, that got some really dismissive reviews at the time. I realized I had to have a really thick skin if I wanted to pursue this. You can't be vulnerable. It's just the nature of it.
Atom Egoyan, Atom Egoyan Defends 'The Captive' and Addresses His Critics,
January 19, 2015

Well, Aydin [ in "Winter Sleep" ] is a very typical modern turkish intellectual, and there's big gap between him and the poor people in the village. But this kind of gap between the educated well-off and the poor exists in most countries; it's not just Turkey. Then there's the fact that he's apparently not religious but writes about religious matters. In Turkey, if you're Muslim, you're not really free to write about religion - partly, perhaps, to show that they're not afraid to do so. Aydin is perhaps fairly typical in that he wants to be seen as a bit of a hero because he writes about religion, but at the same time there's a part of him that's quite cautious or timid. He wants to fight the fear he feels, but it still shows.
Nuri Bilge Ceylan, Conversation Piece, Sight & Sound, December 2014

Andrey Zvyagintsev's intriguing title [ "Leviathan" ], we are told, is both a reference to the sea- monster evoked by God in his final speech to Job, and to Hobbes's defence of the social contract, written during the English Civil War: "that great Leviathan called a common-wealth or state".
Ian Christie, Here Be Monsters, Sight & Sound, December 2014

I was very fond of Derek Jarman and he made some very nice films. But "Caravaggio" is profoundly boring - nothing happens. Everyone in it was busy being gorgeous. There's no character or anything.
Mike Leigh, A Dab Hand, Sight & Sound, November 2014

My life and work are in Iran. My cultural relation to everything, from doors and walls to problems and miseries, comes from Iran - from the language. This is not the language of, 'Hello, I need this and that,' it is something more profound, with which one thinks. These thoughts become your country. My country is my language. When I'm outside Iran, I'm comfortable and unhappy. When I'm inside, I'm uncomfortable but happy.
Mohammad Rasoulof, Uncontrolled Dissent, Sight & Sound, October 2014