cinema-souvenirs - Tumblr blog

[cinema-souvenirs]

Hace un par de días alguien me comentó que no le gusta ver películas en las que sucede lo mismo que en la vida diaria: “¿Para que quiero ver algo que puedo ver todos los días?”.

Me dejó pensando. Para mi el cine debe ser una extensión de nuestras vidas. Un espejo en el que cada espectador se ve reflejado según su propia experiencia de vida. No, como muchos esperan, una ventana en la que puedes ver una realidad lejana, y por lo tanto, ajena.

Me da hueva tener que ir a ver algo en donde no me pueda ver a mi mismo. ¿Cual es el caso?. ¿Para que quiero ir a ver a 8 tipos mamados saltar desde un avión con sus carros de lujo si no puedo encontrarme en ellos?.

Y eso no significa que no puedan existir historias fantásticas, de ciencia ficción o de terror por que ¿Acaso no es todo el mundo cyber-punk de Blade Runner tan solo un pretexto para hablarnos de lo que significa ser humano? ¿O el Babadook una representación física de nuestras carencias mentales más profundas y el tener que vivir con ellas?.

Hay que valorar más a esos cineastas a los que no se les olvida que lo importante del cine son, al fin y al cabo, los humanos delante y detrás de la pantalla en una época en la que parecieran tener más peso las situaciones y el como hacer que sean “más grandes y asombrosas”, por que ¿que chiste tiene ir a ver algo que carece de nosotros mismos?.

[cinema-souvenirs]

Blue Jasmine (Woody Allen, 2013)

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Suspiria(1977)

dir. Dario Argento

[cinema-souvenirs]

Manhattan (1979)

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Le Voyage dans la lune (1902) 

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The Kubrick Stare

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“We all steal, but if we're smart we steal from great directors. Then, we can call it influence.”

― Krzysztof Kieślowski

[cinema-souvenirs]

He remembers those vanished years. As though looking through a dusty window pane, the past is something he could see, but not touch. And everything he sees is blurred and indistinct.

[cinema-souvenirs]

Criterion Collection: Badlands (1973)

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Dr. Strangelove (theatrical trailer, 1964)

[cinema-souvenirs]

"This is no dream, this is really happening".

[cinema-souvenirs]

[cinema-souvenirs]

Lovebirds Jean Seberg and Jean-Paul Belmondo in À bout de souffle directed by Jean-Luc Godard in 1960.

[cinema-souvenirs]

[cinema-souvenirs]

Another set of stunning on-set photos from everyday_i_show: On the Set of Annie Hall

Woody Allen: Fascinating documentary made for French TV in 1979.

This fascinating documentary captures Allen not long after his Oscar success with Annie Hall and the release of his follow-up movie Interiors. Made for French TV in 1979 by Jacques Meny, and actress/journalist, France Roche, this documentary takes the neurotic King of Comedy through his childhood, early career, and success as writer filmmaker. Though the voice over is French, Allen’s interview is in English. —Paul Gallagher 

Film-making is about having something to say—something that can only be said in a film and not a short story, or a play, or a novel. That’s how Woody Allen described his movies—it’s the best way for him to express and explore his ideas, his feelings, and well, because he has ‘to do something for a living.’ It was June 1979, Woody Allen was said to be hiding in Paris. His latest film Manhattan, had opened in New York to overwhelming critical acclaim. As the reviews filtered back to his hotel suite, Woody talked about the movie and film-making to Barry Norman, for the BBC’s Film ‘79.

As Allen explained to Norman, Manhattan was inspired by a dinner conversation with Diane Keaton and cinematographer, Gordon Willis, where they discussed the idea of making a film in Black & White. ‘And as we talked about it, gradually a story spun out in my mind about it. And, you know, it could be anything, it could be a sudden anger over something or, the impulse to want to dress as a pirate. You know, any one of those things could do it.’

But why Manhattan? asked Norman.

‘I live in Manhattan and wouldn’t think of living anywhere else, really,’ said Allen, before going on to explain it’s a great place to live—‘because you know you’re alive.’ —Paul Gallagher

WGA 101 Greatest Screenplays: Annie Hall (1977). Here is the script for Annie Hall. This classic script was written by Woody Allen and Marshall Brickman. Enjoy the read! [pdf, Shooting Script, 1977]. (NOTE: For educational purposes only)

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[cinema-souvenirs]

[cinema-souvenirs]

It’s hilarious, the problems that arise when you’re on the set. It’s really funny because you make a complete fool of yourself. I think I know how to use dissolves, the grammar of cinema. But there’s only one place for the camera. That’s the right place. Where is the right place? I don’t know. You get there somehow. - Martin Scorsese