#cassavetes on cassavetes

[lostloveletters]

John Cassavetes on his research process for Opening Night (1977)

[m--bloop]

John and Gena on the set of A Woman Under the Influence

[metaphysicsinwater]

I think film is magic! With the tools we have at hand, we really try to convert people’s lives! The idea of making a film is to package a lifetime of emotion and ideas into a two-hour capsule form, two hours where some images flash across the screen and in that two hours the hope is that the audience will forget everything and that celluloid will change lives.

John Cassavetes on John Cassavetes

[lieutenant-columbro]

[ashstfu]

john cassavetes on the lack of communication between people

[365filmsbyauroranocte]

Opening Night (John Cassavetes, 1977)

[3080ti]

Scope #2 (2000)

[manderley]

Gena Rowlands in

A Woman Under the Influence (1974)

[389]

Gena Rowlands in Gloria (1980) dir. John Cassavetes

[texaschainsawmascara]

"One workday, while we were waiting to shoot, Roman [Polanski] was discoursing about the impossibility of long-term monogamy given the brevity of a man's sexual attraction to any woman. An impassioned John Cassavetes responded that Roman knew nothing about women, or relationships, and that he, John, was more attracted than ever to his wife, Gena Rowlands. Roman stared at him and blinked a few times, and for once had no reply."

- from Mia Farrow's memoir

[labyrinthofstreams]

“I'm very concerned about the depiction of women on the screen. It's related to their being either high- or low-class concubines, and the only question is when or where they will go to bed, and with whom or how many. There's nothing to do with the dreams of women, or of woman as the dream, nothing to do with the quirky part of her, the wonder of her.” — John Cassavetes.

Faces (1968) / Minnie and Moskowitz (1971) / A Woman Under the Influence (1974) / Opening Night (1977) / Gloria (1980) / Love Streams (1984)

[s0ftersoftest]

chloe sevigny, zoe cassavetes, and sofia coppola

[m--bloop]

[Carney] Just as Cassavetes accepted his own imperfections, and those of his friends, he accepted his characters’. He didn’t ask them to clean up their acts. He respected their emotional disarray. He did not hold their failures of communication against them. He empathized with their struggles. The artistic importance of the result was that in these de-idealizations viewers saw the tortured chambers of their own souls revealed to themselves as if for the first time. Cassavetes’ advice to young directors summed up the stunning originality - and enduring shock value - of both his life and his work:

[Cassavetes] Say what you are. Not what you would like to be. Not what you have to be. Just say what you are. And what you are is good enough.

[phantomsteed]

i hope that the popularity of goncharov convinces people to watch mikey and nicky, which is a movie about two mobsters who are so close to having gay sex that at one point john cassavetes' character has sex while peter falk's character takes slow drags of his cigarette and watches. clocks and the passage of time are potent motifs. the only friends from childhood they have left are each other. they hold each other close and brawl in the streets and the betrayal at the end is so slow and inevitable it feels like watching a dentist wash their hands and put on their gloves before coming to pull out your teeth. it's literally just like my favorite movie goncharov

[teethburied]

Mikey and Nicky (1976) dir. Elaine May – a hand study

this gifset was made for @thoughtfulphilosophercowboy to support a gazan family. commission me for a gifset to help a child get medical care!

[shihlun]

Gena Rowlands (1930-2024)