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The fact that the new generation has no experience of ‘slavery' has an impact, but I think a bigger change is the internet revolution and the existential problems it has created in terms of emptiness and loneliness. The older generation doesn't understand those problems, they see it as some kind of spoiled caprice.
Agnieszka Holland, 'Maybe freedom is overrated?', 5 December 2018

We are in a major moment of disruption. The two-hour film has had a great run for about 100 years but it's become a very predictive format. It's difficult, I think, to work in it. … It's sort of like saying, ‘We all like sonnets, so let's tell sonnets for 100 years, as many ways as we possibly can… I'm not sure that this next generation that is coming up is going to see two-hour narrative as the predominant form of storytelling for them.
Joe Russo, The Two-Hour Movie Is Dead, Says ‘Avengers 4' Director Who Makes Really Long Films, 4 December 2018

I don't want them to learn the lines by rationalizing what the scenes are and how they're supposed to do it and how they're supposed to say certain things. So I try to have them learn the lines while they're doing a bunch of other physical activities that basically take away their concentration from the actual lines and what they mean. So they have these very contradicting activity going on – from jumping around a room when [reciting] dialogue – that has nothing to do with [the drama].
Yorgos Lanthimos, ‘The Favourite' Is Not a History Lesson, 4 December 2018

I'm a professor of film [at NYU's Tisch School of the Arts], and the first day of every semester I have a list of films. And I ask my students to raise your hand if you've seen this film. And especially David Lean films — ‘Bridge on the River Kwai,' ‘Lawrence of Arabia,' ‘Doctor Zhivago' — they say, ‘Yeah, I saw it, Professor Lee, but I saw it on my iPhone.' I'm like, ‘Oh, my God!' And then they watch it vertical.
Spike Lee, Should Movies be Watched on iPhones?, 30 November 2018

The critiques that hurt are generally the ones that are true...
... I don't believe in superheroes. I think it's a worse way of being a nerd. I've been to Comic-Con two times, and all those kids dressed as Spider-Man and Batman, I feel bad for them, because they should dress in their own character.
... Jim Carrey and I have both aged. He is a bit more damaged. When he started, he had a rubber face. He could imitate people, contract his muscles, just amazing. But as you get older, the skin gets a little more dry, so when he moves you see what's underneath. He doesn't really like to see himself like that, but I see little glimpses of sadness, loneliness, and I bring them out.
Michel Gondry, 'I wanted to bring out Jim Carrey's sadness', 27 November 2018

When we say narcissism, that's really brought on by technology. Now everyone has a platform. Everyone can be a publisher. Whole lives are put up for people to react to, to like, to dislike, to comment on, and, yes, that has turned everyone to look inwards, and to curate a personality. But I do think that that fascination has carried over into storytelling. Great storytelling is always a reflection of the times.
Sam Esmail, Revolution in the head: from Maniac to Homecoming, the era of introspective TV, 21 November 2018

บันทึก: เมื่อครั้งที่ Ingmar Bergman และ Michelangelo Antonioni เสียชีวิตในวันเดียวกัน เมื่อวันที่ 30 กค. 2007 นักวิจารณ์ภาพยนตร์ถึงกับเรียกวันนั้นว่าเป็นจุดสิ้นสุดของ cinephile ตัดมาปี 2018 เมื่อผู้เขียนได้ยินข่าวการเสียชีวิตติดๆกันของ Roeg และ Bertolucci ทำให้ผู้เขียนรู้สึกว่าช่วงหลังมานี้ มีผู้กำกับหนังอาร์ตเสียชีวิตต่อเนื่องกันอย่างที่รู้สึกได้ เมื่อมานั่งลิสต์รายชื่อดู ก็จะพบว่า ผู้กำกับหนังอาร์ตเหล่านี้ ส่วนใหญ่เกิดก่อนสงครามโลกครั้งที่สอง และมีผลงานสำคัญในยุค 50-80 ซึ่งนับเป็นยุครุ่งเรืองของหนังอาร์ต ก่อนที่จะเปลี่ยนผ่านไปสู่หนังอินดี้ในยุค 90

Shôhei Imamura (1926–2006)
Sven Nykvist (1922–2006)
Robert Altman (1925–2006)
Gillo Pontecorvo (1919–2006)
Ingmar Bergman (1918–2007)
Michelangelo Antonioni (1912–2007)
Edward Yang (1947–2007)
Jerzy Kawalerowicz (1922–2007)
Ousmane Sembene (1923–2007)
Dino Risi (1916–2008)
Kon Ichikawa (1915–2008)
Alain Robbe-Grillet (1922–2008)
Youssef Chahine (1926–2008)
Jules Dassin (1911–2008)
Claude Berri (1934–2009)
Werner Schroeter (1945–2010)
Mario Monicelli (1915–2010)
Claude Chabrol (1930–2010)
Arthur Penn (1922–2010)
Éric Rohmer (1920–2010)
Ken Russell (1927–2011)
Sidney Lumet (1924–2011)
Michael Cacoyannis (1922–2011)
Raoul Ruiz (1941–2011)
Theo Angelopoulos (1935–2012)
Chris Marker (1921–2012)
Kaneto Shindô (1912–2012)
Kôji Wakamatsu (1936–2012)
Patrice Chéreau (1944–2013)
Claude Miller (1942–2012)
Nagisa Ôshima (1932–2013)
Miklós Jancsó (1921–2014)
Alain Resnais (1922–2014)
Vera Chytilová (1929–2014)
Mike Nichols (1931–2014)
Francesco Rosi (1922–2015)
Manoel de Oliveira (1908–2015)
Chantal Akerman (1950–2015)
Ettore Scola (1931–2016)
Jacques Rivette (1928–2016)
Andrzej Zulawski (1940–2016)
Abbas Kiarostami (1940–2016)
Andrzej Wajda (1926–2016)
Raoul Coutard (1924–2016)
Seijun Suzuki (1923–2017)
Toshio Matsumoto (1932–2017)
Isao Takahata (1935–2018)
Milos Forman (1932–2018)
Ermanno Olmi (1931–2018)
Nicolas Roeg (1928–2018)
Bernardo Bertolucci (1941–2018)

I want faces that are open, that will invite the audience in.
Barry Jenkins, Paul Thomas Anderson, Master of the Close-Up, Is Jealous of Barry Jenkins' Shots, 21 November 2018

The “Greek Weird Wave” was a product of the financial crisis in Greece, when an outrageous austerity was imposed upon the people of Greece. It is only natural that filmmakers tried to understand what happened and why, and it was equally natural that they should turn to exaggeration to comment on what they and their entire country was experiencing.
... No Weird Wave film has met with box office success in Greece. Greek audiences have not turned out to see these films. If Yorgos Lanthimos has had any effect on Greek filmmakers, it is to endorse the notion that films should aim at the international festival market rather than local Greek distribution.
... Lanthimos' success is bittersweet for many of his colleagues in Greece. He confirms the notion that makes them feel somewhat uncomfortable, that only when a filmmaker leaves Greece does he stand a chance to achieve wide attention and recognition.
Jimmy DeMetro, ‘The Favourite' Director Yorgos Lanthimos Reveals the Method to His Madness, 21 November 2018

I think most young artists should never listen to anybody else. You know better than anyone what you need to do. You might think an older artist knows better than you, and is smarter, and they may be, but nobody knows better than you do what you need to do for your own picture. Most older artists are gonna try to get you to conform to the standards that you set out to destroy in the first place.
... The elements or the use of the material has to speak to you. I'm always surprised when people make paintings that are so predictable... If you want to make a painting, paint something because it didn't exist before.
... I mean, why does anybody make a movie? Or why does anybody make a painting? Why does anybody make anything? One is to make it for yourself. The other is to share it with other people. If you're going to show it to somebody else, then a whole other set of variables comes in.
... Jean Renoir said the problem with the world is that everybody's got their reasons. Anyway. I think that this film is probably the closest to where form and content have converged for me.
Julian Schnabel, Julian Schnabel Spent His Whole Life Preparing to Make His Most Personal Movie, 21 November 2018

After the 2011 earthquake, I didn't feel comfortable with people saying repeatedly that a family bond is important. So I wanted to explore it by depicting a family linked by crime.
... The traditional concept of family was already being dismantled or destroyed in Japan, and 3/11 [earthquake] just made it obvious that was happening. I believe you can no longer interpret the true value or purpose of family based on the antiquated traditional tropes of Japanese society. In ‘Shoplifters,' I was looking at three generations living together, because that's typically what you'd find in a Japanese household. But I wanted to play with that, and show that even within those terms the nuclear family is undergoing a permanent change.
... In my career, there are three periods. Up until ‘I Wish,' in 2011, I feel that was the first period of my filmmaking. ‘Like Father, Like Son' was when the second period started, and it ended with ‘Shoplifters.' Now, I am moving into the third era of my films.
... ‘Nobody Knows' is the film that I became a director to make. ‘Still Walking' is special to me because I made it shortly after losing my mother. Having said that, I also have to mention ‘Like Father, Like Son,' because that film took me to the next level, to the point where I couldn't believe this was really my career.
Kore-eda Hirokazu, Kore-eda Hirokazu's Masterpiece ‘Shoplifters' Is the Culmination of His Career, 20 November 2018

I wanted to have this canvas where you touched upon things like icebergs. Where you saw the tip of it, but you knew the depth of it.
... There's a metaphorical understanding of what that is and just by certain things, what her partner says, and you can see the dynamic of that relationship. A lot of it has to do with the audience's history, our communal history. In our own everyday lives, we have an idea of a person, in our daily lives we have glimpses of other people's lives, an idea, an understanding, a metaphorical sort of nuance look. It's Tai chi filmmaking – using the audience to help me finish that narrative because they know often what that's about.
Steve McQueen, In ‘Widows,' Steve McQueen Does More with One Shot Than Most Directors Do with a Scene, 20 November 2018

Cinema is a bridge – it should never be a wall. It is where I cross into the unknown, learn and expand the limits of empathy in others and myself... You're told you've no right to make a film about lesbians unless you're gay. You're told you cannot make a film about a transgender woman without being transgender. I say: what are you talking about? For this is precisely what empathy is: reaching out to what you are not. Denying the legitimacy of a film-maker who explores a world that does not belong to him has the smell of fascism about it and when artistic freedom is menaced, it's a serious alarm, a sign society is headed in the wrong direction.
Sebastián Lelio, ‘The presence of porn is everywhere and making us numb', 17 November 2018

Yorgos Lanthimos asked me to hum while the person I was with said their lines, and then I had to imagine force fields around the room and sculpt them into things. There were lots of games like that throughout rehearsal as well. I'm not sure how it affects the performance.
Nicholas Hoult, Yorgos Lanthimos' Bizarre Auditions for ‘The Favourite' Included Emma Stone Panting Like She Was Giving Birth, 1 October 2018




บันทึก: กำลังติดตามอยู่ตอนนี้




People were giggling about my penis as if they were schoolschildren. I think it's maybe the dying embers of this Calvinistic idea that self-flagellating and shame and anger and violence is all good and yet sex and intimacy, making love is bad. And that manifests in us all giggling about a penis – it's so stupid.
... Florence [Pugh, his Outlaw King co-star] shows her breasts and her body and no one's talking about it. Is that because she's expected to do that as a woman, and I, as a man, am not? And why am I not expected to do that? Because it shows vulnerability or a weakness? I just don't know.
Chris Pine, Full frontal: why the fuss over Chris Pine's 'dazzling' penis?, 23 October 2018

Why not simply reinvent myself as a movie actor, as opposed to a movie star? A character actor, rather than a leading actor? (What's the difference? Well, essentially it's this. When movie stars get a script they want to do, they change it to suit them. When leading movie actors get a script they want to do, they change themselves to suit the script.)
Michael Caine, Michael Caine on why he nearly retired in the 1990s — until Jack Nicholson stepped in, 21 October 2018

With film, you can get an actor to an emotional place very quickly and then you've got it. But in theatre you need to have conversations and explanations and it takes a long time until they get there, and even longer until they remember it. Actors expect a lot of what they call ‘table work' and that doesn't interest me.
Todd Solondz, 'I have weak moral fibre. I wish I were stronger', 21 October 2018

Now when I saw ["Room at the Top" (1959)], which was in a local cinema in north Salford, what was exciting about it was if you walked out of the cinema into the street, it was the same world as was in the pictures. I'd spent all of that time up till then sitting as a kid thinking, ‘Wouldn't it be great if you could have a film where the characters in the film were like real people?'
... The vast majority of my films – the exceptions being Topsy-Turvy, Mr Turner and Peterloo – have been films where I have not said anything about what they were going to be, because they've evolved during the process of manufacture. And any future projects come under that heading and there isn't a nurtured project that hasn't yet happened.
Mike Leigh, 'Silly question!' Mike Leigh interviewed by our readers and famous fans, 21 October 2018

At the time I did Vicky Cristina Barcelona, the allegations were already well known for more than 10 years, and two states in the US deemed he was not guilty. If the legal situation ever changes, then I'd change my mind. But for now I don't agree with the public lynching that he's been receiving, and if Woody Allen called me to work with him again I'd be there tomorrow morning. He's a genius.
Javier Bardem, Javier Bardem condemns 'public lynching' of Woody Allen, 21 October 2018

I was so popular in the 1990s in Russia, at the time they were changing from the Soviet Union – there was big confusion, and people in confusion like my books. In Germany, when the Berlin Wall fell down, there was confusion – and people liked my books.
... When I was in my teens, in the 1960s, that was the age of idealism. We believed the world would get better if we tried. People today don't believe that, and I think that's very sad. People say my books are weird, but beyond the weirdness, there should be a better world. It's just that we have to experience the weirdness before we get to the better world. That's the fundamental structure of my stories: you have to go through the darkness, through the underground, before you get to the light.
Haruki Murakami, ‘You have to go through the darkness before you get to the light', 11 October 2018

I made an art film about a major figure who wants to destroy the world. And he liked it. That was, perhaps, my most problematic review.
Errol Morris, Errol Morris Is Still Pissed About the Backlash to His Steve Bannon Documentary, 11 October 2018

I try, in what I do, to be myself. So for instance, most of the time when I do film, I put the camera at the same level as the character. I don't try to put it so that the character feels superior or put the camera here so the character feels inferior. I like to think like a person, like if they were my cousin. I always think of that way. I think it's very basic, but I think it's trying to shoot with a certain kindness.
Michel Gondry, ‘Kidding' Season 2 Could Go Anywhere, Because Jim Carrey and Michel Gondry Had Pure Freedom in Season 1, 11 October 2018




บันทึก: กำลังติดตามอยู่ตอนนี้




Nothing against [Zadie Smith], but she wanted the people of the [spaceship] to — she wanted them to return to Earth. ‘Going home,' she kept telling me. I said, ‘What the fuck do you mean, going home?' There is no one alive there, you know?
... I really tried, honestly tried. But sometimes people, they have different perceptions of the world. And I've read her books, in French, in English. And I know why. We are on the same planet, but not living the same life, for sure.
Claire Denis, ‘High Life' Director Claire Denis Explains Why Novelist Zadie Smith Departed Film: ‘There Was Not a Word We Could Share', 3 October 2018

Art should ring a bell in your own life. You should get involved. I don't want people to say it's great, I want people to say: ‘It is for me.'
Agnès Varda, ‘I am still alive, I am still curious. I am not a piece of rotting flesh', 21 September 2018

I am not convinced that Kenya is such a weak society that it cannot handle a gay theme. There are Kenyans who paid the ultimate price for the freedoms we enjoy today.
Justice Wilfrida Okwany, Kenya briefly lifts ban on gay film to allow for Oscar submission, 21 September 2018

From the 1940s aliens were originally characterised as saviours who could help humans transcend the cold-war paranoia of nuclear annihilation; especially marked at the time, after two world wars ["The Day the Earth Stood Still" (1951)]. But after events like Watergate and the Vietnam war fuelled distrust in government, UFOs came to be viewed more as a possible threat, and some came to believe their existence was verified in secret military documents.
Philip Jaekl, What is behind the decline in UFO sightings?, 21 September 2018

[“I Am Not a Witch” is] sort of a joke about my culture, that I thought we could all laugh along together to, until I realized that this understanding wasn't quite universal. At screenings, mostly across Europe and North America, it occurred to me that audiences weren't really in on the joke. [Some audiences would apologize for laughing at certain parts,] maybe feeling like they were punching down by laughing at Africans in a certain predicament. It's like I had to give them permission to laugh.
Rungano Nyoni, ‘I Am Not a Witch': How a Satire About Misogyny Is Transforming Zambia's Film Industry, 17 September 2018

I have passed on a lot of roles. There have been one or two that I regretted for maybe a minute, and then I let it go. As I'm growing older, I pass on roles because of my experience of knowing once the movie's out, I'm going to have to promote it. And I don't want to promote anything that I don't believe in.
... Almost a better question is, have I ever done roles that I've regretted? I have, and “The Help” is on that list. I just felt that at the end of the day that it wasn't the voices of the maids that were heard. I know Aibileen. I know Minny. They're my grandma. They're my mom. And I know that if you do a movie where the whole premise is, I want to know what it feels like to work for white people and to bring up children in 1963, I want to hear how you really feel about it. I never heard that in the course of the movie.
... All of my characters cost me something. I feel like if they don't cost me anything, then I'm not doing my job.
Viola Davis, Viola Davis on What ‘The Help' Got Wrong and How She Proves Herself, 11 September 2018

It was almost more useful at times to watch Liza [Minnelli] than it was to watch Freddie [Mercury] himself. You found the inspiration and birth of those movements.
Rami Malek, Catching Mercury, 10 September 2018

No one asked Bob Dylan to play a song the same way every night. Why should I have to make one film?
Terrence Malick, Criterion's ‘The Tree of Life' Is Not a Director's Cut, but a New Movie From Terrence Malick, 31 August 2018

You don't necessarily want [the audience] to instantly associate an image with something because then that's giving the spectator an answer. I'm a little bit repulsed by that idea, because to me the mystery of filmmaking is codes and questions, and if you make too easy of associations then instantly it feels slightly contrived. It's like, ‘This is what we're transmitting, this is what we're saying.'
Chayse Irvin, ‘BlacKkKlansman': Spike Lee Sought Out the Radical Cinematographer Who Shot Beyoncé's ‘Lemonade', 14 August 2018

To be honest, after ‘Do the Right Thing,' I said, ‘That's it.' You know? That's not to say I wasn't happy to get the honorary award, but as far as Oscars, my thing has always been my body of work. What film won best film of 1989? ‘Driving Miss Daisy.' Driving Miss motherfucking Daisy. Who's watching that film now?
... [Cannes 1989 jury members] Sally Field and the late, great Héctor Babenco, who directed one of my most favorite films, ‘Pixote,' they told me that it was [Wim] Wenders that did it [ give Palme d'Or to “sex lies and videotape” ]. He was not letting it happen. He just lied again at Cannes this year and said jury presidents have no power. I would have left the hatchet buried, but now he lied again.
Spike Lee, Spike Lee Reacts to Never Winning an Oscar, Asks ‘Who's Still Watching' 1990 Best Picture ‘Driving Miss Daisy?', 30 July 2018

I always wanted to make a film and be comfortable with it when I finished it. With ‘Roma,' I was satisfied with it when we finished. I was very happy with it, and that's because it's the first film I was fully able to convey what I wanted to convey as a film. It's a story in many different shapes and hints of emotions that have been present since the moment I wanted to be a director.
... Ninety percent of the scenes represented in the film are scenes taken out of my memory. Sometimes directly, sometimes a bit more obliquely. It's about a moment of time that shaped me, but also a moment of time that shaped a country. It was the beginning of a long transition in Mexico.
Alfonso Cuarón, Alfonso Cuarón Talks ‘Roma': Why the Oscar Winner Partnered With Netflix and Became His Own Cinematographer, 25 July 2018

I've been through a farm system that most directors haven't. You see it a lot now, where someone directs a small film, that film is a runaway success, so you have a $5 million movie that makes $60 million and someone says, ‘I've got an idea, let's give that guy $200 million and we'll protect him, we'll put a bunch of people around him and they'll guide him.' And as soon as that person is put in charge of the movie, no one wants to do tell the director what to do, so you have someone who has never made one of these movies, does not understand the rules, and is there to reinvent the wheel and they lose sight of the fact that the wheel is round, and it's round for a reason, and their wheel is not... Those are things I learned, not from the films that I was making, but the films I was making with other filmmakers where I was coming in to help to fix their broken or struggling movies, because I had a level of objectivity I don't have on my own work.
... And I would say that's been the real benefit of my career and allowed me to grow as a filmmaker and so here I am in my late 40s, I'll be 50 this year, and I feel like I'm just now starting my career. I just now have the tools to apply to filmmaking that another well-rounded filmmaker probably had three films in.
Christopher McQuarrie, After a Decade of Tom Cruise Blockbusters, Christopher McQuarrie Wants to Return to the Indies He Abandoned, 25 July 2018

We created a very cool montage where we were allowed to participate and see inside Picasso's mind. We go from the actual event to the actual painting [“Le Moulin de la Galette” ] . We were shooting all our elements; the sets and costumes were recreated immaculately for the painting, with three women sitting around the table in the foreground, and, in the background, people dancing and three men smoking and the band in a gazebo. So the last shot of the day was matching the painting to the camera and recreate his painting, but it wasn't lining up correctly.
... Then, on the way outside, I realized that the reason it wasn't working was because Picasso used two different perspectives in the same painting: The vanishing line of the background falls straight back but the vanishing line of the three women is way off the painting. So by using two completely different perspectives in the same painting, Picasso was experimenting with pre-Cubism, which was the vanishing of the vanishing line. I never would've noticed it if we didn't have to recreate the painting.
Mathias Herndl, ‘Genius: Picasso': Visualizing the Legendary Artist's Life as a Painting, 12 July 2018

No, “Mission: Impossible - Fallout” is great because it fulfills a promise that its star made to moviegoers back in the last millennium, and — with only a handful of exceptions — hasn't reneged on since. It's a promise that's made [Tom Cruise] the last movie star of his kind, a one-man supernova who's yet to burn out a time when audiences only seem to care about brands.
David Ehrlich, Tom Cruise and Christopher McQuarrie Deliver One of the Best Action Movies Ever Made, 12 July 2018

In fact, it's not, strictly speaking, necessary to make this film at all. Inspiration enough has already been gleaned from the real-life events of the past week in Thailand . Only the thickest-skinned person would fail to have been impressed by the courage of the divers, or to have broken out in a cold sweat at the thought of the dark and the rising tide, the terror of the boys, the guilt of the coach, the worry of their parents. Imagination is a much more effective fear machine than mid-budget fictionalisation...
... ["United 93" ] worked because Greengrass's intention was as much journalistic as cinematic – the script was assembled from black box recordings, interviews and mobile phone calls from the sky, veracity dictating every frame... In the 17 years since 2001, much has changed. When disaster strikes, phone footage generally gives us immediate, first-person insight – the Thai cave drama has been unusual for its absence. And such schooling now means our tolerance for the inauthentic is lower. We call out bullshit faster.
Catherine Shoard, The Great Thai Cave Escape? Please, Hollywood, don't do this to us, 11 July 2018

The best directors for us, for our [horror] movies, are [TV] showrunners. Better than the man or woman who had the hottest movie at Sundance or the greatest resume or anything else, the best prototype to direct a Blumhouse movie is a showrunner... Showrunners are used to our pace in the movie business. We have a somewhat TV-pace in [our] movies, but also the movies are much more successful if the director writes, because you can do stuff on the fly, and the showrunner has a kind-of producer mentality.
Jason Blum, Jason Blum Has a Secret for Making Great Horror Films: Hire from TV, 6 July 2018

I've tried to avoid doing this ever since the picture came out. When you just say the ideas they sound foolish, whereas if they're dramatized one feels it, but I'll try. The idea [ of the ending of "2001: A Space Odyssey" ] was supposed to be that he is taken in by god-like entities, creatures of pure energy and intelligence with no shape or form. They put him in what I suppose you could describe as a human zoo to study him, and his whole life passes from that point on in that room. And he has no sense of time. It just seems to happen as it does in the film.
... When they get finished with him, as happens in so many myths of all cultures in the world, he is transformed into some kind of super being and sent back to Earth, transformed and made into some sort of superman. We have to only guess what happens when he goes back. It is the pattern of a great deal of mythology, and that is what we were trying to suggest.
Stanley Kubrick, ‘2001: A Space Odyssey' Lost Interview Goes Viral: Did Stanley Kubrick Finally Explain the Film's Ending?, 6 July 2018

There's always got to be reality in my films. Maybe it's the only way I can stop myself from going completely mad. It's the tension between reality and fantasy that is interesting, and that's why I don't like all the big Marvel movies. There are too many of them, they are dominating the industry, and everybody just wants to see the next one and go, ‘Well, there's the Hulk again.' It's horrible, but more importantly, there is no real physical reality to the films. There is no gravity, and gravity is everything. Things fall, and no matter how high you want to jump, you are always brought back down. On a technical level, these films are brilliant, and I find myself watching them from a distance because there is no real tension. There is no real threat. You just know they'll win somehow, or they'll win if the whole civilization doesn't collapse around them first. It's kind of like us in real life. The heroes in my films don't win, they survive.
Terry Gilliam, KVIFF 2018: Terry Gilliam Dreams the Impossible Dream, 6 July 2018

I hope you watch [‘A Very English Scandal' ] with an understanding of why men were in the closet, how hard it was to be in the closet, to stay in the closet, what that meant for your family, to your wife, to your children. I think I could eulogize him. For all the wrong things he did, nonetheless as an icon of what those past days were and how they've improved, I think he's very important. I hope people now remember both Jeremy Thorpe and Norman Scott a bit more and recognize that in the constant struggle...
... I think the way to make these things and to sell them across the world is not to globalize them, is not to add an American or a Chinese character just to increase the fanbase. It's to concentrate on what it is and be honest to that. ‘Sherlock' is huge in China, and ‘Sherlock' is so British. ‘A Very English Scandal,' the reviews we've had in America have been absolutely brilliant for a very buttoned up and immensely British cast. So I think you just stick to what you're doing, really. Just make it good. That's what travels internationally.
Russell T. Davies, How to Make Very British TV Like ‘A Very English Scandal' a Global Sensation, According to Russell T. Davies, 1 July 2018

While the first “Sicario” may have not been the most sympathetic portrait of Mexicans, its ungainly titled sequel [“Sicario: Day of the Soldado” ] feels like a piece of state-sanctioned propaganda, a MAGA-sploitation thriller that does not see humanity in our neighbors... Some of my fellow critics reported people cheering the murder of Mexicans in the film, and it makes me wonder if we'll actually get to a point where even Fox News is outraged about the violent killing of Mexican law enforcement. Maybe not.
Monica Castillo, ‘Sicario: Day of Soldado' Doubles Down on Mexican Stereotypes and Violent MAGA Fantasies — Opinion, 29 June 2018

I've had people talk to me about Sicario as if it's a documentary. Someone just said to me: ‘Your movie has to do with the exact same thing that's going on right now [on the border]. You take a child and you separate her from her father.' I go: ‘What?' He says: ‘You separate the girl from the family.' I say: ‘No, no, I kidnap the girl. It's very different.'
Benicio Del Toro, 'Melania knew what she was putting on': Benicio Del Toro on drugs, Sicario and Trump's border war, 29 June 2018

I'm not completely comfortable with dramatizing people who are still alive and still living their lives because I think it's possible to be unfair. And in the second [season of "The Crown" ], I didn't think it was fair to Prince Philip, to the Duke of Edinburgh, based on very little... Some of it was extrapolation from a rumor or someone's rather prejudiced account. And then it was presented as fact, and I'm not sure that's just.
Julian Fellowes, ‘Downton Abbey' Creator Julian Fellowes Explains His One Big Problem With Netflix's ‘The Crown', 29 June 2018

I need to know for myself what things mean and what's going on. Sometimes I get ideas, and I don't know exactly what they mean. So I think about it, and try to figure it out, so I have an answer for myself... I don't ever explain it [ to audiences ]. Because it's not a word thing. It would reduce it, make it smaller... When you finish anything, people want you to then talk about it. And I think it's almost like a crime. A film or a painting – each thing is its own sort of language and it's not right to try to say the same thing in words. The words are not there. The language of film, cinema, is the language it was put into, and the English language – it's not going to translate. It's going to lose... [ A film or TV show is like a magic act ] and magicians don't tell how they did a thing.
David Lynch, David Lynch: ‘You gotta be selfish. It's a terrible thing', 23 June 2018

As a result of the #TimesUp campaign, HBO for the first time has made women and men in lead role positions [equally paid]. I'm one of the actresses that benefited... When I first discovered how much they were offering it made me realise, ‘Oh my God, men have been paid so much more.' I had to have a big swallow of resentment. I gave it half an hour and then felt grateful. Every year I go into a new production or a new season of Westworld and I don't think to ask for more, I just feel so grateful to be working. But we need to expect more for ourselves.
Thandie Newton, Thandie Newton had 'swallow of resentment' over male co-stars' pay, 19 June 2018

The self-immolating Jack-Jack symbolizes a Millennial baby.
Armond White, Incredibles 2 : Pixar's Creeping Marvelism, 15 June 2018

Am I saying I hate white dudes? No, I'm not … [but if] you make the movie that is a love letter to women of color, there is an insanely low chance a woman of color will have a chance to see your movie and review your movie... [Audiences] are not allowed enough chances to read public discourse on these films by the people that the films were made for. I do not need a 40-year-old white dude to tell me what didn't work for him about ‘[A] Wrinkle in Time.' It wasn't made for him. I want to know what it meant to women of color, to biracial women, to  teen  women of color, to  teens  that are biracial.
Brie Larson, Brie Larson Promises ‘I Do Not Hate White Dudes,' But Laments Lack of Inclusion Among Film Critics, 13 June 2018

[The next three ‘Star Wars' films] were going to get into a microbiotic world. There's this world of creatures that operate differently than we do. I call them the Whills. And the Whills are the ones who actually control the universe. They feed off the Force.
... Back in the day, I used to say ultimately what this means is we were just cars, vehicles, for the Whills to travel around in... We're vessels for them. And the conduit is the midi-chlorians. The midi-chlorians are the ones that communicate with the Whills. The Whills, in a general sense, they are the Force.
George Lucas, ‘Star Wars': George Lucas Would Have Set Third Trilogy in ‘Microbiotic World' Linked to Midi-Chlorians, 13 June 2018

I needed a green card to work with Abel Ferrara [on his film The Blackout ] . I'd been convicted recently of possessing heroin and cocaine, and so this consul says: ‘You're not the kind of person we want in America.' He spoke to me disrespectfully. I said to him: ‘You don't speak to your wife like that, so don't speak to me like that.' And I slapped him. I was banned for seven years.
Béatrice Dalle, Betty Blue's Béatrice Dalle: ‘I love Christ because he invented bondage', 6 June 2018

I write what I write because I'm a Christian. It informs everything I do. My father always taught me it's OK to laugh at the things you love. Part of "Preacher" is about interrogating faith. You can't do that stuff lightly. For a time the other writers would look at me across the table to see if I was gonna be offended but I never am. I'm happy to write about faith and God and get angry and deep. Let's pull it all apart and see what's lasting.
Mary Laws, Preacher writer Mary Laws: 'I'm happy to get angry and deep about faith and God', 5 June 2018

Steven Soderbergh, a visual director? Are you kidding? Give me an example of a great, visually memorable scene [from] Soderbergh or a silent sequence based on the staging…I saw an episode of ‘The Knick' and there is nothing that [impressed me visually].
Brian De Palma, Brian De Palma Disses Steven Soderbergh's Directing Style: ‘A Visual Director? Are You Kidding?', 5 June 2018

Right around the time ‘Fruitvale Station' went down, I told my agents I didn't want to go out for any roles written for African Americans. I didn't want it. I wanted only white men. That's it. That's all I want to do. Me playing that role is going to make it what it is. I don't want any pre-bias on the character…Writers write what they know, what they think encounters with us would be, and that's slight bias... I wanted to go out for these roles because it was just playing people.
Michael B. Jordan, Michael B. Jordan Told His Agents During ‘Fruitvale Station' He'd Only Audition for Roles Written for White Men, 5 June 2018

My father was very difficult. We were not close. It's hard. I don't really talk about my father publicly, because there are a lot of people that really love him very, very much – his work as an actor. I don't want to disabuse them [of] their admiration.
... [My sister] was a drug addict. I saw a lot of that behaviour growing up and decided at a very young age I didn't want that. But a part of me obviously wanted to understand and know what it was like, but from a very safe distance. A lot of my pull towards acting was trying to understand my sister – and my father, for that matter.
Jennifer Jason Leigh, ‘I have countless stories': Jennifer Jason Leigh on lucky breaks, lotharios and late motherhood, 4 June 2018

I remember when someone asked Ian McKellen what he thought about the Brexit vote he said, “Queer people are internationalists.” We aren't about borders. We go to other countries and we feel a kinship with other queer people. It does force a universalist, international view of things, and the aliens in ["How to Talk to Girls at Parties" ] are really the opposite of queer. They're so insular that they're not even going to trouble the universe for resources. They're going to eat their own children until they decline. It's their natural form of attrition.
John Cameron Mitchell, John Cameron Mitchell on his new movie and the privilege of being queer, 3 June 2018

Film is a visual medium, and, if the task of literature is to stud the brain with quotations, cinema's job is to cram it with images which transcend story line and feed the need for myth. There are very few films which have done this. We are told by the French post-structuralists that the writer doesn't write: the writer is written, is controlled by the language he uses. And so Fritz Lang [in "Metropolis" ] was controlled by the limitations of black and white, by mocked-up urban landscapes which never pretended to be real, and probably by the strange ambiguous beauty of Brigitte Helm. The film was never meant to be propaganda. Lang admits that he was primarily fascinated by machines, above all perhaps by the huge machine which is the film-making complex.
Anthony Burgess, Anthony Burgess: ‘Metropolis changed my childhood', 3 June 2018

Amid the horror of war, [ in Saving Private Ryan (1998) ] Spielberg seems to be trying to rediscover American innocence, that Holy Grail that existed only in the Rousseau-esque imagination yet was virtually incorporated into the constitution. Spielberg, like other Hollywood directors of the time, came from a generation scarred by the moral quagmire of Vietnam. He understood the national need, in the post-cold war chaos, to reach back to more certain times, seeking reassurance from that moment in history – the second world war – when the fight seemed unequivocally right. “Tell me I've led a good life,” says the weeping veteran in the cemetery to his wife. “Tell me I'm a good man.”
... “You are,” she replies, and the music begins to swell, with drum beats and trumpets. This representative of American motherhood appears to be reassuring the US as a whole. She seems to be speaking to a nation unable at that time to come to terms with its role in a disordered world, to a nation that, for all its power, can be bewilderingly naive abroad because it so badly needs to feel good about itself at home.
... Andrew Marr rightly called The Patriot (2000), set in the American war of independence, “a stinker”. As he pointed out: “Black Americans, in fact destined to stay slaves thanks to the war, very many of whom enlisted with the British, are shown fighting shoulder to shoulder with their white rebel ‘brothers'. The British are portrayed as effete sadists and serial war criminals, just as in other American films. The huge support of the Bourbon French, who helped win the war, is airbrushed out. And the fact that most colonists actually sided with King George is airily forgotten.”
Antony Beevor, Antony Beevor: the greatest war movie ever – and the ones I can't bear, 29 May 2018

When John Dexter, the director of M Butterfly, started shouting at everyone in the cast, Hopkins told him to stop. “I said, ‘John, you don't need to do this. You're a great director. Stop it.' And he cried. I mean, I understand if people are bullies. They've got their problems. I can't judge them, I won't make fun of them at awards. It's correct for women to stand up for themselves, because it's unacceptable. But I don't have a desire to dance on anyone's grave.”
... He understands that we can all be terrible, and we can all be kind. Fame and power have nothing to do with it. I tell Hopkins something the singer Tony Bennett once said – “Life teaches you how to live it if you live long enough” – and he is delighted. “How extraordinary. What an amazing thing to say! You know, I meet young people, and they want to act and they want to be famous, and I tell them, when you get to the top of the tree, there's nothing up there. Most of this is nonsense, most of this is a lie. Accept life as it is. Just be grateful to be alive.”
Miranda Sawyer, Anthony Hopkins: ‘Most of this is nonsense, most of this is a lie', 26 May 2018


In the new introduction [of the book, “Transcental Style in Film” ], [Paul] Schrader diagrams the larger movement by showing how well-known filmmakers move in three different directions as they push away from narrative. There are the “Surveillance Cam” filmmakers (Abbas Kiarostami), who emphasize capturing day-to-day reality. There is “Art Gallery,” cinema which is a move toward pure imagery: light and color, which can manifest itself in films that are abstract, or dream-like (Lynch). And the third direction is what Schrader refers to as Mandala, or “meditation” cinema, films that work on the viewer almost like a trance (Ozu).
... "I laid out this cosmogony of where all these directors were after breaking free from the nucleus of narrative and they're electrons shooting off in these three directions,” said Schrader. “I also drew what I called the [Andrei] ‘Tarkovsky Ring.' What happens when an artist goes through the ‘Tarkovsky Ring,' that's the point where he is no longer making cinema for a paying audience. He's making it for institutions, for museums, and so forth.
Chris O'Falt, From Lynch to Kiarostami to Ozu: See Where Your Favorite Directors Fall on Paul Schrader's Chart of Non-Narrative Cinema, 24 May 2016

I just wanted to make, you know, a good song. Something people could play on Fourth of July.
Donald Glover, Donald Glover's Answer to Why He Made ‘This Is America' Is Perfect: ‘A Song for People to Play on Fourth of July', 9 May 2018

The broken love story in ‘A Star Is Born' kept haunting me. Shots kept coming into my head. I would dream about it. I realized I had to do it, whether it fails or not. I knew I had to try and I wound up absolutely loving it. You can't hide when you sing. The best way to express love is through singing and music. I knew if I could marry that in a way, it would be special.
... Gaga is a revelation. I relied on her. She said right from the beginning that this is going to be a barter: ‘I'm gonna rely on you to get a performance out of me, and I'm gonna make sure you're going to be a real musician.'
Bradley Cooper, Robert De Niro Praises Bradley Cooper's ‘A Star Is Born,' but the First-Time Director Owes His Success to Lady Gaga, 21 April 2018

It's so often that the people who are actually the best are the ones who are thrown out of drama school because they're idiosyncratic. They're peculiar. They don't fit any nicely tied-up box. In fact, they are the most interesting artists. I've known people who were thrown out of drama school for not conforming to what the school felt was going to be a viable option in the profession.
Helen Mirren, Drama school rejects ‘often the best', says Mirren, 1 April 2018



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