The Conversation — dir. Francis Ford Coppola

Andrei Tarkovsky
"And is Chaplin—comedy? No: he is Chaplin, pure and simple; a unique phenomenon, never to be repeated. He is unadulterated hyperbole; but above all he stuns us at every moment of his screen existence with the truth of his hero’s behavior. In the most absurd situation Chaplin is completely natural; and that is why he is funny."

Buster Keaton
"At his best, and Chaplin remained at his best for a long time, he was the greatest comedian that ever lived."

François Truffaut
"My religion is cinema. I believe in Charlie Chaplin…"

Jean-Luc Godard
"He is beyond praise because he is the greatest of all. What else can one say? The only filmmaker, anyway, to whom one can apply without misunderstanding that very misleading adjective, ‘humane’… Today one says Chaplin as one says Da Vinci—or rather Charlie, like Leonardo."

Jean Renoir
"The master of masters, the filmmaker of filmmakers, for me is still Charlie Chaplin. He has done everything in his films—script, direction, setting, production, performance and even the music… His films are not only examples of perfect unity, but all his work is one. One may say indeed of Chaplin that he has made only one film and that every facet of that film is a different enactment of the same profession of faith."

Jiri Menzel
"All Chaplin’s early films assured me that the comedy can say in a grotesque way much more about people’s characters than serious films, which after a certain time fade away and became ridiculous. Good comedy is immortal."

Luis Buñuel
"When I was young, the idea of an orgy was tremendously exciting. Charlie Chaplin once organized one in Hollywood for me and two Spanish friends, but when the three ravishing young women arrived from Pasadena, they immediately got into a tremendous argument over which one was going to get Chaplin, and in the end all three left in a huff."

Masaki Kobayashi
"Last year I went to the Cannes Film Festival and met Charles Chaplin. They showed his works. I was deeply impressed by his greatness. His films, his methods and content, are modern and so contemporary; he is a great genius."

Ousmane Sembène
"[Did other filmmakers teach you anything?] There was one, an old man whom I had the fortune to meet very old, Charlie Chaplin; he told me that everyone could do this job, but that it is very demanding… He was the only guy who you couldn’t see in bars, nightclubs, or at receptions. He told me one had to stay at home and work…”

Pier Paolo Pasolini
"You can always feel underneath my love for Dreyer, Mizoguchi and Chaplin… I feel this mythic epicness in both Dreyer and Mizoguchi and Chaplin: all three see things from a point of view which is absolute, essential and in a certain way holy, reverential."

Satyajit Ray
"If there is any name which can be said to symbolize cinema—it is Charlie Chaplin… I am sure Chaplin’s name will survive even if the cinema ceases to exist as a medium of artistic expression. Chaplin is truly immortal."

Stanley Kubrick
"If something is really happening on the screen, it isn’t crucial how it’s shot. Chaplin had such a simple cinematic style that it was almost like I Love Lucy, but you were always hypnotized by what was going on, unaware of the essentially non-cinematic style. He frequently used cheap sets, routine lighting and so forth, but he made great films. His films will probably last longer than anyone else’s.”

Vittorio De Sica
"Truly good films—like Chaplin’s—should stimulate as well as soothe, should appeal to the mind as well as to the senses, should kindle thought as well as the emotions."

(via filmsaremything)

nevver:

Step into the light

(via known-stranger)

brightwalldarkroom:

"Dignan appears from a life of quixotic schemes, a world where he is the hero of his own action movie, a leader of men. Owen’s energy is infectious. He was 26 when Bottle Rocket came out, with a crew cut and an incredibly broken nose, but he may just as well have been 13.”


—Daniel Reynolds, "Growing Up with Bottle Rocket (Bright Wall/Dark Room, Issue #11, April 2014)

(via brightlightsandmotions)

thefinalimage:

Exit Through the Gift Shop | 2010 | dir. Banksy

#artists

10oclockdot:

1 + 1 = 1 or 1 + 1 = 3
A Wedding Supercut in Too Many Parts

For the occasion of my sister’s April 2014 wedding, she asked me to put together a supercut of movie clips pertaining to weddings and relationships, to be played on a loop in a room adjacent to the reception for people (like me) who don’t much like dancing, or who would at least like a break from the hubbub.

As soon as I started putting clips together, the project began to balloon well beyond what she wanted, taking a bizarre and at times curiously hybrid form. Though I ended up cutting it down for her actual wedding reception, here’s the “director’s cut.” At times funny, at times touching, and at times encyclopedic, there’s plenty here to enjoy and to reflect upon. I hope you’ll watch it all.

But, of course, if you’d rather just watch an excerpt, click here.

The title refers at once to an ancient concept of marriage (“the two shall become one,” thus 1 + 1 = 1) and a somewhat less ancient concept of film montage (that the cut will create a meaning beyond the meaning of the two shots by themselves, thus 1 + 1 = 3).

Thanks to Penny Lane for making The Voyagers (here), to György Pálfi for making Final Cut: Ladies and Gentlemen, and to Tim Dirks for his useful best-of lists at filmsite.org.

Oh, by the way, this is my 1000th post.

fruitgod:

 

(via hedgehogpillow)

sosreelthoughts:

L’avventura

(1960, Michelangelo Antonioni)

(via somuchundone)

One day we were shooting “Portlandia” downtown and we went to eat in the lunchroom of this church where they were having an art show. This season’s shoot was really hard; I felt very pushed and challenged, and I was tired and disoriented a lot. I remember sitting down and seeing this painting on a canvas. It said: “If you can, please wake up.” It’s this weird, dark, intense phrase that almost sounded like something like a kid would say to his parents. And that became my mantra for the whole rest of the shoot.
I spent two weeks chasing down the artist— he was the security guard at the building. I told him how much that painting meant to me and how it had really gotten me through the shoot and he said, “I would be happy to sell it to you if it means that much to you.” So about a month ago, I drove over to his house and bought the painting from him.


Carrie Brownstein
Photographs © We Are The Rhoads

(via stayforthecredits)

No matter what his rank or position may be, the lover of books is the richest and the happiest of the children of men.

J.A. Langford (via observando)