Запечатлённое время

"I told Miyazaki I love the “gratuitous motion” in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are.
“We have a word for that in Japanese,” he said. “It’s called ma. Emptiness. It’s there intentionally.”
Is that like the “pillow words” that separate phrases in Japanese poetry?
“I don’t think it’s like the pillow word.” He clapped his hands three or four times. “The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it’s just busyness, But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb."

Rogert Ebert, on Hayao Miyazaki (via tarkovskologist)

(Source: artvevo, via human-child)


Raymond Pettibon

Raymond Pettibon

(Source: thepsychotexotic, via tamara-paw)

Close-Up not only speaks to us of the human need for dreams and the cinema’s enormous power of fascination; the film also introduces a damaged character, who pretends to be someone else in order to regain his own self-respect. Kiarostami is very clear on this point. ‘The main issue raised by the film is the need that people feel, whatever their material circumstances, for respect and social recognition […] Ultimately, what the film is dealing with is the difference between the “ideal self” and the “real self”; the greater the difference, the more unbalanced the person.’ To want to be someone else—a feeling that the film-maker confesses to knowing well, which undoubtedly justifies speaking of autobiographical elements in the film—has little or nothing to do with playing a game, in this context. Sabzian is a weak and pathetic character who tries to escape the frustrations of his life by making an unusual bid for integration into a society that excludes him. That is why his question (his plea, really) to Kiarostami when the director visits him in prison is simply: ‘Could you make a film about my suffering?’”

Alberto Elena, The Cinema of Abbas Kiarostami

"It was really bizarre, that Sabzian business. You know I had no interest in being photographed before this incident. But then not just Sabzian—many other people started pretending they were me! One of them actually got married while pretending he was me! My face became publicly recognizable soon after I decided to have a few photographs of me available in public to prevent these sorts of identity thefts. It is really pathetic, if you think of it. Filmmakers and filmmaking is so popular in Iran because all other forms of expression have been denied to people."

Mohsen Makhmalbaf

"Whenever I see a film, I ‘dissolve’ myself in it to such an extent that I reach the bottom. I fade out and perhaps… I get lost in it. And this has played an essential role in my life. Cinema is important to me. It’s like a prism. A good film is part of my life. With every good film I see, I feel reborn. It feels as if I made it myself, as if it were my creation. I identify with the director. I identify with the actors. I feel attuned and in harmony with the atmosphere of the film. I feel as if it’s my story. That’s how films carry me away. That’s why they’ve become my obsession. […] When it was all over, and I reentered society, I felt people’s eyes on me. Narrow-minded people who talked about everything but my enthusiasm for the movies. What I did wasn’t minor—tell the whole world about it—but that irrational act proved my love for film. I’m satisfied because I made one of my dreams come true. I was Makhmalbaf for four days. I remember Orson Welles’s advice to his students who wondered how to find the money for their films. ‘Steal it,’ he said. ‘At least you’ll fulfill your hopes.’"

Hossein Sabzian

(Source: strangewood, via iran-ed)

(Source: pinknam, via iran-ed)

"[Tarkovsky] is more innocent than me. In his films rain purifies people. In mine it just makes mud."

— Bela Tarr (via veronikazakonjsek)

(Source: filmsboutique, via veronikazakonjsek)

likeafieldmouse:

Brett Amory - More from the series Waiting

(via lyingseason)

Zionists be gone/fuck off. I’m glad that some of you have outed yourselves in recent days. Expect an unfollow. 

And, if you support Israel, please unfollow me. Thanks.

until-theskyturnsgreen:

Raymond Depardon, Glasgow 1980s

(via seulmates)

fer1972:

"Books are friends that never disappoint us" - Thomas Carlyle

Illustrations by Quint Buchholz

(via iran-ed)

strangewood:

Andrei Tarkovsky on the set of The Sacrifice.

strangewood:

Andrei Tarkovsky on the set of The Sacrifice.

(via human-child)

vintageanchorbooks:

Cormac McCarthy was born Charles McCarthy in Providence, Rhode Island on this day in 1933.

“You never know what worse luck your bad luck has saved you from.”
Cormac McCarthy, No Country for Old Men

violentwavesofemotion:

Anne Sexton, reading out loud most intensely and passionately her own poem titled "Wanting To Die" (x)

(via lifestandstill)

infiniterpm:

The Complete Radiohead in paperback.

I posted the ones from O.K. Computer and The Bends a while back. I found the rest of the studio discography. These are friggin fantastic.

(via iran-ed)

4-a-d:

Scott Walker + Sunn O))) : scott-o.com
[x]

4-a-d:

Scott Walker + Sunn O))) : scott-o.com

[x]

(via iran-ed)