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finally found my password after 5 years. 

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Through a lens darkly, 1961

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Variety.

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Pierre Etaix’s design for Jacques Tati’s Mon oncle (1958).

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Brief Encounter (1945, dir. David Lean)

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Stalker (1979) Dir. Andrei Tarkovsky

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Ingmar Bergman’s Winter Light (1962).

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Liv Ullmann recommends some life-changing Italian neorealism.

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Friendly reminder today however many years ago Carol and Therese had sex for the first time in a motel room in Waterloo, Iowa.

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As of 17 October 2015

20 days to SPECTRE 33 days to Hunger Games Mockingjay Part 2 61 days to Star Wars Episode 7

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Ingmar Bergman's The Seventh Seal (1957) Cinematography by Gunnar Fischer

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The Sound of Inside Out

Selected quotes from an exclusive SoundWorks Collection sound profile

On Inside Out’s sound design

“I tried to articulate visually what I was after and emotionally what does it do. So, when a memory is very fresh and new, it’s very clean and bright and solid, it’s not breakable. And then when it’s older, it gets crumbly and grey and foggy. I kind of spoke more in those emotional terms then Ren [Klyce (Sound Designer)] just took it and made it sound exactly the way I described.” - Pete Docter (Director)

On the sound design of the memory balls

“We wanted something that sort of felt glassy and also sweet and musical. So we did recordings with a variety of different glasses and different volumes of water, things like that, trying to find the perfect pitch . . . which we ended up using a lot for the rewinding of the memory balls.” - Shannon Mills (Supervising Sound Editor)

“We mixed the movie in [Dolby] Atmos so it’s all about immersion” - Jonas Rivera (Producer)

For the full exclusive SoundWorks Collection sound profile, watch the video.

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Title card from Skyfall’s (2012) opening credits.

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Editing as Punctuation in Film  by Max Tohline of @10oclockdot

Only have 10 seconds? Jump to Minute 7:48 for the finale of Fail Safe (1964) for a shockingly effective (or effectively shocking) use of freeze-frame and montage editing. 

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montage is an idea that arises from the collision of independent shots

Sergei Eisenstein in Film Form

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I push a shot sometimes for so long until it becomes uncomfortable for the public. Then I change.

Chantal Akerman (1950-2015) https://vimeo.com/120513329