@RadiantFilm RadiantFilm

RadiantFilm posts on X about in the, the first, ford, art the most. They currently have [-----] followers and [---] posts still getting attention that total [-----] engagements in the last [--] hours.

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Social Influence

Social category influence countries 6.73% automotive brands 5.77% travel destinations 4.81% celebrities 1.92% finance 0.96% stocks 0.96%

Social topic influence in the 23.08%, the first 8.65%, ford 5.77%, art 5.77%, director 5.77%, the most 4.81%, human 4.81%, robert 4.81%, this is 4.81%, movies 3.85%

Top accounts mentioned or mentioned by @composurefilm @georgevostok @cryptospace24fp @alonein43672278 @tomokilove @misanthropicas1 @ivanovstrzp @zmani111 @seraphicphant @jerrythom11 @diegomoldesgonz @tfchooligan69 @noga_6987 @grok @themelbflaneur @milan_elm @gayle_reuben @ericadiwren @fusteimihai1986

Top assets mentioned WORK (WORK)

Top Social Posts

Top posts by engagements in the last [--] hours

"Jacques Rivette on James Cameron and Titanic (1997): "I agree completely with what Jean-Luc Godard said in this weeksElle: its garbage. Cameron isnt evil hes not an asshole like Spielberg. He wants to be the new De Mille. Unfortunately he cant direct his way out of a paper bag. On top of which the actress is awful unwatchable the most slovenly girl to appear on the screen in a long long time. Thats why its been such a success with young girls especially inhibited slightly plump American girls who see the film over and over as if they were on a pilgrimage: they recognize themselves in her and"
X Link 2025-12-17T23:20Z [----] followers, 518.9K engagements

"Remembering Nobuhiko Obayashi on his birthday (January [--] [----] - April [--] 2020). "I call myself a film auteur rather than a film director. Toho had Kurosawa the director Shochiku had Ozu the director Daiei had Mizoguchi etc. all were film directors unlike me who did not belong to any company and thus could not bear that title. That is why I made my own business card calling myself a film auteur stating that I make movies the way a sculptor carves a sculpture or a writer writes a novel. When one turns twenty in Japan it is a common custom to have a business card signifying that one can go out"
X Link 2026-01-09T18:09Z [----] followers, 14.1K engagements

"Nobuhiko Obayashi recalling Akira Kurosawa's words to him: "Akira Kurosawa told me that if he had [---] more years he could make the world a happy place but he was [--] at the time and as a man close to death he said that he did not have enough time. He said Obayashi how old are you now [--] That means you have at least another [--] years. If you have [--] more years you can do more work towards this world and if you cant make it there your children and grandchildren will continue it and when its my 400th anniversary when your great grandchildren are making films there will be no wars. I believe this."
X Link 2026-01-09T19:29Z [----] followers, 74.2K engagements

"Vittorio Storaro on filming Apocalypse Now (1979): "At the beginning I said to Francis Ford Coppola I dont think this is my kind of movie. What was I supposed to do with a war movie when in Italy I was used to doing films about the philosophers or political films with Bernardo Bertolucci But Francis said: No Vittorio. This is not a war movie. This is a movie about civilization. Please readHeart of Darknessby Joseph Conrad and you will understand my concept. And he was right. I read and understood that there was one principal idea in Conrads book: when one culture overpowers and superimposes"
X Link 2026-01-30T22:31Z [----] followers, 37.6K engagements

"David Lynch on using Roy Orbison's "In Dreams" in Blue Velvet (1986) and Roy Orbison's reaction to the film: Chris Rodley: "Ive always assumed that InDreams was conceived as an integral part of the movie from the beginning. It seems conceptually essential to the storys intentions and mood. Is that true" Lynch: "In Dreams came about while we were in production for BlueVelvet. Kyle MacLachlan and I were on our way down to Wilmington North Carolina from New York City. We were going through Central Park on our way to the airport when over the cabs radio came Crying by Roy Orbison and Im listening"
X Link 2026-01-31T21:21Z [----] followers, 98.1K engagements

"Remembering John Ford on his birthday (February [--] [----] - August [--] 1973). "I hate the cinema. But I like making westerns. What I like in filming is the active life the excitement of the humming of the cameras and the passion of the actors in front of them the landscapes on top of that the work work work. . It takes a huge physical effort to remain lucid and not to fall in the traps of aestheticism and above all intellectualism. What counts is what one does and not what one says. When I make a western all I have to do is to film a documentary on the West just as it was: epic. And from the"
X Link 2026-02-01T19:11Z [----] followers, 13.5K engagements

"Abbas Kiarostami on making Close-Up (1990): "I had intended to make another film called Pocket Money which was to be about children at a school. The first group was ready but then I read a report in the newspaper about the incident. I was very much intrigued by the story - it came into my dreams and I was very much influenced by it. So I called my producer and asked that we put aside Pocket Money and start something else and he agreed. So we decided to take the cameras to the prison instead of to the school and started shooting. It was a 40-day shoot with many difficulties because the people"
X Link 2026-02-04T19:09Z [----] followers, 32.2K engagements

"Olivier Assayas on Michael Mann: "I am a fan of Michael Mann; he is one of the most inspired stylists in American cinema today but it was all there from the start. In Thief his first feature you have echoes of Melville (it goes full circle) a sharp eye for realism but also profound human characters with precisely drawn relationships and great acting. Manns fascination with a geometrical modernity even if it is always mediated by genre filmmaking is genuinely reminiscent of Antonioniexplicitly so in the last scenes of Heat." "Olivier Assayass Top 10" The Criterion Collection (2015)"
X Link 2026-02-05T20:35Z [----] followers, 20K engagements

"Michelangelo Antonioni's statement at the [----] Cannes Film Festival press conference for L'Avventura: "Today the world is endangered by an extremely serious split between a science that is totally and consciously projected into the future and a rigid and stereotyped morality that all of us recognize as such and yet sustain out of cowardice and sheer laziness. Where is this split most evident What are its most obvious its most sensitive let us even say its most painful areas Consider the Renaissance man his sense of joy his fullness his multifarious activities. Those were men of great"
X Link 2026-02-05T22:07Z [----] followers, [----] engagements

"Federico Fellini when asked "What is your faith Signore Fellini": "It isimpossiblefor any artist not to believe because he is blessed again and again with the experience of releasing his fantasies into a creative form. This is an indescribable secret. Things happen to all of us that we are unable to describe. We don't know where we come from. We don't know where we go. Everything around man is mysterious. How can anybody stand up and say "I don't believe in anything" He can just admit "I know that I know nothing" or "I believe in the mysterious." I however prefer to say "I believe inGod."""
X Link 2026-02-05T23:13Z [----] followers, 24.3K engagements

"Luis Buuel on The Phantom of Liberty (1974): "ThePhantomof Liberty (a phrase that had already appeared in The Milky Way when one character tells another Your liberty is only aphantom) was invented in homage to Karl Marx to that A spectre is haunting Europethe spectre of Communism at the beginning of the Manifesto. The first scene was inspired by the return of the Bourbons when the Spanish people had really shouted Long live our chains out of pure hatred for the liberal ideas Napoleon had introduced. Soon after however the idea of political and social freedom took on an additional"
X Link 2026-02-07T23:30Z [----] followers, [----] engagements

"Today marks the 50th anniversary of Taxi Driver which was released on February [--] [----]. "TaxiDriver is really Paul Schrader's. We interpreted it. Paul Schrader gave the script to me because he saw Mean Streets and liked Bob in it and liked me as a director. And we had the same kinds of feelings about Travis the way he was written the way Paul had it. It was as if we all felt the same thing. It was like a little club between the three of us. Paul Schrader and myself had a certain affinity and we still do about religion and life death and guilt and sex. Paul and I are very close on that sort of"
X Link 2026-02-08T19:48Z [----] followers, [----] engagements

"Paul Schrader on Taxi Driver (1976): "This is the Taxi Driver formula: you have a guy who writes in a journal and goes from place to place. That goes on for quite a while. You start to identify with him because youre hearing his inner voice which is coming through you intravenously like nourishment that you cant taste but which is there. Youre following his every movement. There are no other perspectives no other characters no cutaways. With Taxi Driver I went to the European model of the existential hero of Dostoevsky Camus and Sartre where youre just inside that person. You get into his"
X Link 2026-02-08T20:57Z [----] followers, 18.2K engagements

"Henri Alekan explains filming (and then hiding) the angel wings in Wings of Desire (1987): Richard Raskin: "I noticed in your book a discussion of the shot in which we see Damiel with wings that disappear almost immediately. I assume that this idea - of showing Damiel with wings for a brief moment - was thought of just before the shot was filmed and obviously after the moment when it was decided that the angels would simply be dressed in overcoats." Alekan: "Yes I must say that the history of this shot - and not only of this shot but of the fact that the angels have or don't have wings - was"
X Link 2026-02-10T22:50Z [----] followers, [----] engagements

"Jacques Rivette on Joseph L. Mankiewicz: "His great films likeAll About Eve(1950) orThe Barefoot Contessa(1954) were very striking within the parameters of contemporary American cinema at the time they were made but now I have no desire whatsoever to see them again. I was astonished when Juliet Berto and I sawAll About Eveagain [--] years ago at the Cinmathque. I wanted her to see it for a project we were going to do together beforeCline and Julie Go Boating(1974). Except for Marilyn Monroe she hated every minute of it and I had to admit that she was right: every intention was underlined in red"
X Link 2026-02-11T19:48Z [----] followers, 11.9K engagements

"Happy birthday to Darren Aronofsky (b. February [--] 1969). "I want to make films that communicate to a lot of people. I grew up on Hollywood movies and I love them. So I think there is a way to work on that scale and be true to yourself through your artistic vision. The biggest crime I think in movie making is when you bore an audience and I really don't want to do that. I want to keep the thrills coming as much as possible. I really enjoy entertaining people it's great thrill when you scare an audience or you make them laugh or cry. The worst insult for example was when some people found"
X Link 2026-02-12T18:06Z [----] followers, [----] engagements

"Stanley Kubrick on "modern art": "I think modern art's almost total pre-occupation with subjectivism has led to anarchy and sterility in the arts. The notion that reality exists only in the artist's mind and that the thing which simpler souls had for so long believed to be reality is only an illusion was initially an invigorating force but it eventually led to a lot of highly original very personal and extremely uninteresting work. In Cocteau's filmOrphethe poet asks what he should do. 'Astonish me' he is told. Very little of modern art does that -- certainly not in the sense that a great"
X Link 2025-12-07T20:48Z [----] followers, 143.5K engagements

"Robert Bresson on the "analogy" between Au hasard Balthazar (1966) and Mouchette (1967): Yvonne Baby: "Is there an analogy to be drawn between your films Au hasard Balthazar andMouchette" Bresson: "Mouchette's life is cut short. She kills herselfshe actswhile Balthazar the donkey submits. Both are prey to public cruelty (in different forms) and to injustice etc. Mouchettes terror resembles the terror of a trapped animal. Intuitively I introduced partridges and jackrabbits into the film. Our lives are tied to those of animals in an ineffable way. The domain of cinematography is the domain of"
X Link 2026-02-07T20:15Z [----] followers, [----] engagements

"Andrei Tarkovsky on Pier Paolo Pasolini's The Gospel According to St. Matthew (1964): "I like the picture. I like it precisely because its director did not succumb to the temptation of interpreting the Bible. The Bible has been interpreted for two thousand years and no one can reach unanimous agreement. So Pasolini did not set himself this task he just left the thing in the form in which it was born. Many feel that the image of a militant cruel Christ was made up by the author of the film. Not true Read the Gospels and you will see that this was a cruel cantankerous irreconcilable man."
X Link 2026-02-13T19:27Z [----] followers, 50.1K engagements

"Remembering Masaki Kobayashi on his birthday (February [--] [----] - October [--] 1996). "All of my pictures from a certain point on are concerned with resisting entrenched power. In a way The Human Condition concerned itself with this larger theme. That's what Harakiri is about of course and Samurai Rebellion too. I suppose I've always challenged authority. This has been true of my own life including my life in the military. In terms of my opposition to militarism military organisations. In those days everything was strictly controlled certainly not something that we could openly discuss. Finally"
X Link 2026-02-14T20:00Z [----] followers, [----] engagements

"Wim Wenders reflecting on his collaboration with Sam Shepard on the screenplay for Paris Texas (1984): "In [----] Sam and I cooked up the story of "Paris Texas." At the time Sam was working on his play "Fool for Love" at the Actors' Playhouse in San Francisco. We spent most of our time at Tosca our favorite bar playing pool in the back room telling each other stories trying to find out what territory we had in common. When we finally found it in the character of a catatonic man who appeared out of nowhere in the Texan desert everything fell into place. More than that: from then on everything"
X Link 2026-02-04T20:19Z [----] followers, 24K engagements

"Francis Ford Coppola discusses how he ended up making The Godfather (1972): "There's a story I love to tell about this movie because it's a true story. It's really sort of uncanny. All my film school buddies and I had moved to San Francisco to try to be independent. We wanted to make personal films more like those art films in the '50s likeThe European. I had a young oh call him a protg a guy named George Lucas. He was five years younger than me and was a film student. I was the only one who had any money because I had had a successful screenwriting career for about three years. I had a"
X Link 2026-02-07T19:03Z [----] followers, 13.6K engagements

"Robert De Niro on Taxi Driver (1976): "I was shooting '1900' in Italy with Bertolucci. And so right after that a couple of weeks after I got back I went right into shooting 'Taxi Driver.' It was a script that Marty Scorsese had given to me that Paul Schrader had written. Or maybe Paul gave it to me but Marty was gonna do it. And we were all excited by it. It's just a matter of when. I thought the script was terrific. We all did. It's interesting because the alienation. I don't know what the attraction is for people these days but I think we all identified in some way the alienation of"
X Link 2026-02-08T22:05Z [----] followers, [----] engagements

"Wim Wenders on the origins of Wings of Desire (1987): "The idea strictly came from wandering around Berlin and feeling inspired to make a film that would tell the story of a city that had seen hell and that was now a very unique place on Earth an island city divided by a wall. A film that would show as many aspects of this city as possible and that would also go diagonally through its history. I was looking for characters through whom I could tell the city because I didnt want to make a documentary film. Fiction is the best way to preserve places I feel. I thought of firefighters and mailmen"
X Link 2026-02-09T18:16Z [----] followers, 13.3K engagements

"Alexander Payne on the films that made him "want to be a filmmaker": "The three films that in hindsight most made me want to be a filmmaker wereModern TimesViridiana andSeven Samurai. Id already seen some Kurosawa but when I was a junior in college the restoredSeven Samuraiplayed at the Castro in San Francisco. I just couldnt believe that you could re-create the past that vividly. Thats probably the movie Ive seen more times than anything else [--] [--] [--] times.ViridianaI saw as a university student in Spain just at the time when movies banned under Franco were finally trickling out. I didnt"
X Link 2026-02-10T19:44Z [----] followers, [----] engagements

"Theo Angelopoulos on Andrei Tarkovsky and Stalker (1979): "I love Tarkovsky's Stalker; Nostalghia I like less; Sacrifice I do not like at all. As far as I am concerned the Holy Trinitythat of the actor the landscape and the camerais perfect in Stalker." "Landscape in the Mist" Theo Angelopoulos Interviewed by Serge Toubiana and Frdric Strauss in 1988"
X Link 2026-02-11T21:29Z [----] followers, 32.8K engagements

"Masaki Kobayashi on his collaboration with Tru Takemitsu: "Generally the way I use music. once the filming and the editing are finished you finally show the images to the composer. Of course he might visit the set during filming or watch dailies during production as well. But when the film is visually complete - we call this a rough cut - you finally show it to the composer. Then the confrontation with the composer the battle between the director and the composer begin you see. At this stage there is no music only sounds; reality-based sounds are the only sounds - no dialogue as yet. As"
X Link 2026-02-14T20:55Z [----] followers, [----] engagements

"Jacques Rivette on Alfred Hitchcock: "One could have to be totally blind to cinema not to recognize Hitchcock's total mastery. At the same time though his direction is often misleadingly praised at the expense of script and story construction as though it were something existing independently. One gets the impression that when Hitchcock is preparing a film he works out his camera movements at the same time as his story detail resolving his problems of clarity and economy in both fields simultaneously. His films are never pure visual brilliance: they go a lot deeper than that." Roger Leenhardt"
X Link 2025-08-13T23:43Z [----] followers, [----] engagements

"Werner Herzog on Aguirre the Wrath of God (1972): "It is difficult for me to explain my feelings aboutAguirreas I do not like to analyze characters but merely present them to the audience.Aguirrefascinated me because he was the first person who dared defy the Spanish crown and declare the independence of a South American nation. At the same time he was completely mad rebelling not only against political power but nature itself. In the film he insists that When IAguirre want the birds to drop dead from the trees then the birds will drop dead from the trees. I am the Wrath of God. The earth I"
X Link 2025-09-05T17:46Z [----] followers, [----] engagements

"Today marks the 40th anniversary of After Hours (1985). "I always wanted to make a film that had this sort of Chinese-box effect in which you keep opening it up and opening it up and finally at the end you're at the beginning." Martin Scorsese interviewed by The New York Times in 1993"
X Link 2025-09-13T20:12Z [----] followers, [----] engagements

"Jack Cardiff on Black Narcissus (1947): "The funny thing was that when we were preparing the film we took it for granted we would go to India and do the real thing in India. And then when the subject came up Michael Powell said "No we are going to do it all in the studio". We thought "Oh my God this is going to be very difficult to do all this beauty". But he was right. If we had gone to India it would have been an enormous expense to take everyone there for location so it was a very wise decision. We experimented with backings seen through the window. The conventional thing in those days was"
X Link 2025-09-18T19:32Z [----] followers, [----] engagements

"John Woo on Jean-Pierre Melville: "I believe that this connection I have with Melville also has to do with the fact that I was influenced by existentialism in the fifties and sixties. To me Melville's movies are existentialist as you find in the loneliness of the characters played by Yves Montand in Le Cercle Rougeand Alain Delon inLe Samoura. Nobody cares for them nobody knows who they are; they are loners doomed tragic figures lost on their inner journey. His other influence is of course Greek tragedy which had a strong impact on my films as well. My characters like Melville's are sad and"
X Link 2025-09-22T22:02Z [----] followers, 13.3K engagements

"Marcello Mastroianni on his roles in La Dolce Vita (1960) and [--] (1963): "I did those two Fellini films not as an actor but as a man. I took part because I needed as a man to realize myself through them. They are the best mirror of my real self. It's not that I play myself actually but rather more that I am looking for myself in the roles. There is this synthesis between the roles and the real meas if I'm trying myself out in them. Who knows which one is more authentic Each one seems so at the time." Marcello Mastroianni interviewed by Playboy Magazine for its July [----] issue"
X Link 2025-09-26T18:08Z [----] followers, 10.1K engagements

"Martin Scorsese on Mikls Jancs and The Round-Up (1966): "In the 1960s there were artistic revolutions and revelations exploding all around the worldbetween the movies we were seeing and the music we were listening to it was like living at the heart of a supernova. At this point the connection to that moment is fading. Fewer and fewer people know the films or the people who made them even people like Fellini and Bergman and Truffaut. Or Mikls Jancs the Hungarian master. One of the major preoccupations of that era was the need to make a genuinely political cinema. What should a political film"
X Link 2025-09-27T21:20Z [----] followers, [----] engagements

"Edward Yang on the impact of watching Aguirre the Wrath of God (1972): "I found a job in Seattle at a research laboratory that contracted to do classified defense projects in microcomputers. I was among the first generation of designers and applicators for microcomputers and microprocessors. By the time I turned thirty I was pretty well established with a team of seven or eight guys working on some very interesting projects. Later on I made the association that designing is like writing and I realized that this background helped me a lot. After a couple of years as an engineer of course the"
X Link 2025-11-07T00:00Z [----] followers, 95.6K engagements

"Tatsuya Nakadai on The Face of Another (1966) from an interview with The Lady Miz Diva in 2014: LMD:"The Face of Another is quite an avant-garde project. Did you understand all the different themes when it was presented to you" Nakadai:"Laughs Thats a good question Director Teshigahara and the original author novelist Abe Kobo in the past Id been in a lot of plays written by Abe Kobo so I was familiar with those two individuals and we were all members of the avant-garde film movement at the time so in that sense I think I had a grasp of the theme even though it was difficult." LMD:"What was"
X Link 2025-11-12T00:48Z [----] followers, [----] engagements

"Federico Fellini on making [--] (1963): "Its difficult enough to remember the films I have made the motifs even. Anyway for some time I had had in mind the idea of making the portrait of a man in its many layers: his memories fantasies dreams his everyday life a character who as yet had no professional or personal identity (at the beginning he wasnt a film director). I wanted to recount the multi-dimensionality of a day a conscious and an unconscious life unfolding like a spiral without defining boundaries abandoning any idea of plot in favour of a free narration a chat. The idea was to restore"
X Link 2026-01-20T23:05Z [----] followers, 15.1K engagements

"Rainer Werner Fassbinder on the similar stories of All That Heaven Allows (1955) and Ali: Fear Eats the Soul (1974): "In Fear Eats the Soul its just a matter of a similar story; the films are products of different circumstances. Sirks is a kind of fairytale; mine is too but one from everyday life. Sirk had the courage simply to tell the story. I probably didnt trust myself simply to dothat. But Id been wanting to do it for years I didnt have an actress for it until I met Brigitte Mira and realised that she could do it. Its a story of two people who are in practically the same situation who"
X Link 2026-02-13T18:30Z [----] followers, [----] engagements

"Remembering John Schlesinger on his birthday (February [--] [----] - July [--] 2003). "I do think they all share the same theme: very few have happy endings many have question mark endings. If I do get a sort of happy ending they will accuse me of being sentimental. But all of them are about people resisting compromise but having to face it; people pushed to a corner who have to survive in some way whatever their experiences may bephysical or emotional. I think the films are about survival in very strange circumstances. Darling was about a girl that could not make up her mind and always thought"
X Link 2026-02-16T17:05Z [----] followers, [---] engagements

"Dario Argento on working with Sergio Leone on the script for Once Upon a Time in the West (1968): "He did a crazy thing. He put the film treatment ofCera una volta il West / Once Upon a Time in the West(Sergio Leone 1968) into the hands of two nobodies myself and Bernardo Bertolucci. Sergio wanted the film to be different from his previous ones he wanted the main character to be a woman. Sergio thought that the traditional Italian screenwriters didnt understand anything about women. So he was looking for young writers and he hired us. Sergio met Bernardo almost by chance at a film screening"
X Link 2025-09-07T22:51Z [----] followers, [----] engagements

"David Lynch on the origin of Mulholland Drive (2001): "Mulholland Drive like anything is based on a set of ideas. I always try to tune into those first ideas and let them talk to me and follow them wherever they lead. From that I develop a story populated by characters. I guess the initial spark for the film was the nameMulholland Drive; the signpost in the night partially illuminated for a couple of moments by the headlights of a car. It was that simple." David Lynch interviewed by John Dunningin 2002"
X Link 2025-09-09T16:10Z [----] followers, 10.4K engagements

"Andrei Tarkovsky on Stalker (1979) and a sequel envisioned: "The Stalker himself is perhaps not so important to me much more important is the Writer who went to the Zone as a cynic just a pragmatist and returned as a man who speaks of human dignity who realised he was not a good man. For the first time he even faces this question is man good or bad And if he has already thought of it he thus enters the path And when the Stalker says that all his efforts were wasted that nobody understood anything that nobody needed him he is mistaken because the Writer understood everything. And because of"
X Link 2025-09-09T18:16Z [----] followers, 61.2K engagements

"Remembering Alexander Dovzhenko on his birthday (September [--] [----] - November [--] 1956). "In all my films there is parting. My heroes say good-bye as they rushoff somewhere far away on to a different life unknown but alluring. To keep their hearts from breaking they say good-bye hastily and carelessly without looking back. It's the ones who stay behind who cry. This was my mother. Born to sing she spent her whole life crying and saying good-bye. The questions of life and death affected my imagination when I was still a child so strongly that they left their imprint on all my work. Thus the"
X Link 2025-09-10T16:19Z [----] followers, [----] engagements

"Andrei Tarkovsky on Alexander Dovzhenko: "Dovzhenko is certainly closest to my heart because he felt nature like nobody else he was really attached to earth. This is for me very important in general. Of course here I have in mind the early Dovzhenko from his silent period he meant a lot to me. I'm thinking above all about his concept of spiritualization of nature this sort of pantheism. In some sense not literally of course I feel very close to pantheism. And pantheism has left a strong mark on Dovzhenko he loved nature very much he was able to see and feel it. This is what was so meaningful"
X Link 2025-09-10T17:29Z [----] followers, 16.7K engagements

"Martin Scorsese on Brian De Palma: "Brian is a great director. Nobody can interpret things visually like he does: telling a story through a lens. Take the scene in The Untouchables where Charles Martin Smith is shot in the elevator. Look at that Steadicam shot; he's not just moving the camera to show you that we can go longer because we have the Steadicam. Francis Ford Coppola used to tell me 'Marty we can start a shot and go up to the Empire State Building and come back down. Anybody can do it. You have to know how to move a camera a little bit that's all.' A lot of people use the Steadicam"
X Link 2025-09-11T18:46Z [----] followers, 71.6K engagements

"In memory of Jean-Luc Godard who decided to end his life by assisted suicide [--] years ago today (December [--] [----] - September [--] 2022). "We were all critics before beginning to make films and I loved all kinds of cinema the Russians the Americans the neorealists. It was the cinema which made us or me at least want to make films. I knew nothing of life except through the cinema and my first efforts were films de cinphile the work of a film enthusiast. I mean that I didnt see things in relation to the world to life or history but in relation to the cinema." Jean-Luc Godard interviewed by Tom"
X Link 2025-09-13T22:26Z [----] followers, 75.4K engagements

"Bong Joon Ho on his relationship with his contemporaries: "It wasnt as if we had this manifesto that we are part of this group like Dogme [--] and we never considered this a movement per se. But it is true that directors like Park Chan-wook Kim Jee-woon and I we did hang around together in the early 2000s and we watched a lot of films together. I do think that we are kind of the first cinephile generation of Korea. But the Korean director Im Kwon-taek was the first Korean director toscreenin Cannes and sort of gained this international reputation. He is a film director from my parents"
X Link 2025-09-14T20:30Z [----] followers, 71.1K engagements

"In memory of Robert Redford (August [--] [----] - September [--] 2025). "The technology available for filmmaking now is incredible but I am a big believer that its all in the story. I believe in mythology. I guess I share Joseph Campbells notion that a culture or society without mythology would die and were close to that. I dont know what your childhood was like but we didnt have much money. Wed go to a movie on a Saturday night then on Wednesday my parents would walk us over to the library. It was such a big deal to go in and get my own book. I dove into mythology and that was the most important"
X Link 2025-09-16T17:39Z [----] followers, 26.1K engagements

"Raoul Coutard on Jean-Luc Godard and shooting Breathless (1960) from a [----] interview with The Telegraph: The Telegraph: "You started Breathless without a screenplay." Raoul Coutard: "Yes he wrote the script as we went along. Some days he hadnt written any new scenes and so we didnt shoot anything. Hed ring me up and say Im not feeling well - I havent got anything for today. Can you phone round everyone and tell them we arent shooting and then go and see the producer So I did that and the producer Georges de Beauregard was furious. That happened four or five times. But Jean-Luc did finally"
X Link 2025-09-16T22:34Z [----] followers, 34.1K engagements

"Krzysztof Kielowski describes a young girls profound reaction to The Double Life of Veronique (1991): "At a meeting just outside Paris a fifteen-year-old girl came up to me and said that she'd been to see Vronique. She'd gone once twice three times and only wanted to say one thing really that she realized that there is such a thing as a soul. She hadn't known before but now she knew that the soul does exist. There's something very beautiful in that. It was worth making Vronique for that girl. It was worth working for a year sacrificing all that money energy time patience torturing yourself"
X Link 2025-09-18T21:53Z [----] followers, 15.9K engagements

"Andrei Tarkovsky on Nostalghia (1983): "Nostalghiais an extremely important film for me. It is a film in which I have managed to express myself fully. I must say that it has confirmed for me that cinema is a truly great art form capable of representing faithfully even the most imperceptable movements of the human soul." Andrei Tarkovsky interviewed by Natalia Aspesi in 1983"
X Link 2025-09-19T00:12Z [----] followers, 13.1K engagements

"Anna Karina on how she met Jean-Luc Godard: "Jean was getting more popular right I made films for soaps and I was the Coca-Cola girl for England. I did a lot popular films too. Suddenly I had a call one day saying theyd like me to come to the office to see Jean-Luc Godard. He is preparing a film calledBreathless. Jean would like to see you. I said yes. I thought he was pretty strange because at that time nobody was wearing those kind of glasses where you couldnt see the eyes. Like sunglasses but it was not sunglasses. He says Okay okay youre playing a girl taking her clothes off. You dont"
X Link 2025-09-22T18:37Z [----] followers, 13.7K engagements

"Yorgos Lanthimos on his preference for shooting on film: "I wish to shoot everything on film I have shot a couple of films digitally and I totally hated the experience. I just dont appreciate the process. Being on set and watching these things that look like a soap opera on the monitor. It kind of distracts you. You dont understand what it is that youre getting and youre seeing and then you have to live with that horrible image during post-production and editing. Then when you are finishing the film you are just striving to make it look like something to add texture make the skin tones look"
X Link 2025-09-23T19:11Z [----] followers, 23.9K engagements

"In memory of Claudia Cardinale (April [--] [----] - September [--] 2025) "I never did a nude scene and I never did anything to change my face or my body. Theres nothing wrong with old age. I also never had a bodyguard or a driver simply because I always like to be who I am." Claudia Cardinale interviewed by Film Talk in [----] Pictured: Il bell'Antonio (1960) [--] (1963) The Leopard (1963) Once Upon a Time in the West (1968)"
X Link 2025-09-23T21:39Z [----] followers, 70K engagements

"Claudia Cardinale on Sergio Leone: "His method of work was unique. He would have the music composed before the shooting started he would get us to listen to the score before filming the scene." Claudia Cardinale interviewed by Martin Gani for Italy Magazine in 2012"
X Link 2025-09-24T00:35Z [----] followers, 11.3K engagements

"Pedro Almodvar on David Lynch: "When he films certain objects in close-ups he manages to give these shots genuine suggestive power. Not only are the images faultless from an aesthetic viewpoint but they are also full of mystery. His approach is close to mine except that since I am more fascinated by actors I like to film faces while Lynch who was trained in the plastic arts is clearly more interested in objects." Moviemakers' Master Class: Private Lessons from the World's Foremost Directors by Laurent Tirard published in [----] Pictured: Blue Velvet (1986) Wild at Heart (1990) Lost Highway"
X Link 2025-09-25T15:05Z [----] followers, 89.7K engagements

"Robert Bresson on the power of sound: "The eye is lazy. Theear on the contrary is inventiveits much more attentive whereas the eye is content to receive other than in exceptional cases when it too invents but by fantasizing. Theearis in some sense far more evocative and profound. The whistle of a train for example can call to mind the image of an entire station: sometimes of a precise station you know sometimes of the atmosphere of a station or of tracks with a stopped train. The possible evocations are innumerable. Whats good about this this sound is that it leaves the viewer free. And thats"
X Link 2025-09-25T18:29Z [----] followers, 27.4K engagements

"Jean-Luc Godard on Robert Bresson: "In the world of today whatever the domain France can now shine only through exceptional works. Robert Bresson illustrates this rule in the cinema. He is the French cinema as Dostoyevsky is the Russian novel and Mozart is German music." Godard on Godard: Critical Writings by Jean-Luc Godard August 1956-January [----] Pictured: A Man Escaped (1956) Pickpocket (1959) Au hasard Balthazar (1966) Mouchette (1967)"
X Link 2025-09-25T21:57Z [----] followers, [----] engagements

"Michael Haneke on Robert Bresson: "What strikes me about Bresson is the seriousness he brings to the medium itself and to the viewer. I also like his gaze. The fact that he had the ability to invent a personal unique language that reproduces his way of perceiving the worldthats something very difficult to do. Most filmmakers take cinematic clichs and use them as building blocks for their movies. But finding an individual voice a signature for your work is extremely difficult and there are only a few filmmakers who have been able to do that. I see those filmmakers as beacons in cinema. Im"
X Link 2025-09-25T23:20Z [----] followers, 22.4K engagements

"Remembering Marcello Mastroianni on his birthday (September [--] [----] - December [--] 1996). "I dont know anything about methods or systems or schools. But you must make sense of all the elements that motivate the mind of a character. You must select the best in order to better reach the public calculating and using the effect. When I prepare for a scene I reflect much on what I have to do. Much. I study the gestures and facial expressions everything. This is a technical job not intuitive and its something an actor must do. Similarly a painter doesnt work by instinct alone; he calculates his"
X Link 2025-09-26T16:55Z [----] followers, [----] engagements

"Bla Tarr on Mikls Jancs: "Jancs is a genius. Until him Hungarian film was just a petit-bourgeois kitschy stupid industry. It didn't matter if somebody was able to do a little bit better a little more artistically: the mentality of the filmmakers was always the same; they accepted the order. But Jancs didn't accept the forms the style or any school. He was able to be a real revolutionary and that's why he deeply touched me when I was young. I saw a lot of movies and they were all fake all lies so I never felt anything when I left the cinema. He was the first director to show me real pictures"
X Link 2025-09-27T20:12Z [----] followers, [----] engagements

"Michelangelo Antonioni on the role of music in cinema: "I thinkmusichas had and can continue to have a great function in films because there is no art form which the film medium cannot draw upon. In the case ofmusic it draws directly and therefore the relationship is even closer. It seems to me however that this relationship is beginning to change. In fact the waymusicis being used today is quite different than it was used ten years ago. At that timemusicwas used to create a certain atmosphere in order to help get the image across to the spectator. Earlier of course in the period of the"
X Link 2025-09-29T20:01Z [----] followers, [----] engagements

"Andrei Tarkovsky on Michelangelo Antonioni: "Antonioni has made a strong impression on me with his films especially with LAvventura. I realized then watching this film that "action" the meaning of action in cinema is rather conditional. Theres practically no action going on in Antonionis films. And this is the meaning of action in Antonioni films. More precisely in those Antonioni films that I like the most." Andrei Tarkovsky in a conversation with Tonino Guerra in the [----] documentary Voyage in Time"
X Link 2025-09-29T22:07Z [----] followers, 14.6K engagements

"Andrei Tarkovsky on Akira Kurosawa Seven Samurai (1954) and The Magnificent Seven (1960): "The main thing is his modern characters modern problems and the modern method of studying life. That's self-evident. He never set himself the task of copying the life of samurai of a certain historical period. One perceives his Middle Ages without any exoticism. He is such a profound artist he shows such psychological connections such a development of characters and plot-lines such a vision of the world that his narrative about the Middle Ages constantly makes you think about today's world. You feel"
X Link 2025-10-02T21:16Z [----] followers, [----] engagements

"Remembering Buster Keaton on his birthday (October [--] [----] - February [--] 1966). "I developed the StoneFace thing quite naturally. I just happened to be even as a small kid I happened to be the type of comic that couldnt laugh at his own material. I soon learned at an awful early age that when I laughed the audience didnt. So by the time I got into pictures that was a natural way of working." Buster Keaton interviewed by Arthur B. Friedman in [----] Pictured: Our Hospitality (1923) The Navigator (1924) Sherlock Jr. (1924) The General (1926) Steamboat Bill Jr. (1928) The Cameraman (1928)"
X Link 2025-10-04T18:35Z [----] followers, [----] engagements

"Federico Fellini on Christianity's role in his films: "What does it mean to be aChristian If byChristianyou mean an attitude of love towards ones neighbours it seems to me that . . . yes all my films turn upon this idea. There is an effort to show a world without love characters full of selfishness people exploiting one another and in the midst of it all there is always - and especially in the films with Giulietta - a little creature who wants to give love and who lives for love. Well in this way evenLadolce vita can be defined. . . Theres a priest who found a pretty fair definition for it."
X Link 2025-10-06T18:05Z [----] followers, [----] engagements

"Martin Scorsese on Rocco and His Brothers (1960): "WhenRocco and His Brotherscame out in [----] a lot of people criticised it for what they perceived as emotional excess. It is operatic as were all of Viscontis films but the remarks about excess made no sense to me. Rocco is Italian culture. I grew up in Italian-American culture but there wasnt much of a difference. For us that is me and my family and my friends the physical and emotional expressiveness of the characters in the film Katina Paxinous character in particular seemed like an accurate and only slightly heightened reflection of the"
X Link 2025-10-07T21:01Z [----] followers, 20K engagements

"Quentin Tarantino on Jean-Pierre Melville: "Melville is the Godard I havent grown out of. I love Melvilles take on genre I think Melville along with Sergio Leone are the greatest reconstructionists of genre. He delivers completely in his own way he knows the rules of the gangster films and he was in love with the film noir of the 40s and the gangster films of the 30s. He took the same plots and he took banal American crime novels and did them his own way." Quentin Tarantino speaking on his role models in [----] interview Le Doulos (1962) Le Samoura (1967) Army of Shadows (1969) Le Cercle Rouge"
X Link 2025-10-20T21:53Z [----] followers, 20.1K engagements

"Jacques Rivette on Jean-Pierre Melville: "Hes definitely someone I underrated. What we have in common is that we both love the same period of American cinema but not in the same way. I hung out with him a little in the late 50s; he and I drove around Paris in his car one night. And he delivered a two-hour long monologue which was fascinating. He really wanted to have disciples and become our Godfather: a misunderstanding that never amounted to anything." The Captive Lover An Interview with Jacques Rivette by Frdric Bonnaud from [----] Les Enfants terribles (1950) Lon Morin Priest (1961) Le"
X Link 2025-10-20T22:58Z [----] followers, [----] engagements

"Catherine Deneuve on Luis Buuel: "Buuel didnt like to talk too much. It would physically tire him. But we had a mute understanding. ShootingTristanawent better thanBelle de Jour because there was a nicer producer but mostly because Buuel himself was very happy about shooting in Spain for the first time sinceViridiana. He was euphoric. He had a wonderful sense of humor. One thing he stressed was Above all no psychology I accepted it wholeheartedly especially because it came from him." Two Old Masters: Luis Buuel published by Film Comment in theSeptemberOctober 1983issue Catherine Deneuve with"
X Link 2025-10-22T18:46Z [----] followers, [----] engagements

"Ang Lee on meeting Ingmar Bergman during a "delay" in Lust Caution (2007): "During preproduction I was told there would be a delay in the art direction so I got a chance to go to his island to see the man himself. This was a spiritual pilgrimage to give me the strength to finish this movie.Lust Cautionis more film noir than Bergman. It doesnt ask where God is. Its a much more Buddhist existential deconstruct. In the time we had together he mostly asked how I worked with actors. And I said to him "Sometimes I hate myself because I tear them apart to see myself. I tear them he pantomimes"
X Link 2025-10-23T22:12Z [----] followers, 12.4K engagements

"In memory of the great filmmaker Peter Watkins (October [--] [----] - October [--] 2025). "I think the pain of loss is something that never really leaves you. If you have experienced it young there is a certain shift to the way you think about life and you consider questions of mortality too young. I think Ive approached it with a willingness to understand something that has oftentimes been difficult but everyone deals with mourning in different ways. I think as more family members have passed away I have unwittingly become the family archivist although my approach is from an artistic standpoint"
X Link 2025-10-31T22:05Z [----] followers, [----] engagements

"In memory of Pier Paolo Pasolini who was murdered [--] years ago on November [--] [----] (March [--] [----] November [--] 1975). Pasolini's closing words from his last interview conducted by Furio Colombo on November [--] 1975: "I dont want to talk anymore about myself maybe I have already said too much. Everybody knows that as a person I do pay for what I say. But there are also my books and my films that end up paying for me. Maybe Im wrong after all but I keep on thinking that we are all in danger." Pier Paolo Pasolini at the Chia Tower Viterbo taken by Gideon Bachmann"
X Link 2025-11-02T19:34Z [----] followers, 82.6K engagements

"Monica Vitti on L'Avventura (1960): "L'Avventura began with a boat trip that Michelangelo and I went on with some friends. We arrived at an island called I can't remember. A small island. The four of us went ashore and I went off for a walk around this deserted island. I was gone for an hour and a half because Michelangelo and I had had a little argument. When I came back we all boarded the yacht and he said "Your running away like that gave me an idea. We need to talk about it. Why'd you go off alone for an hour and a half" "Why Because I needed to be alone. I dont know." He said "We need to"
X Link 2025-11-03T20:47Z [----] followers, 10.2K engagements

"Yasujir Ozu on Sadao Yamanaka: "Autumn in [----]. Soon after I finished "Passing Fancy" (1933) I entered infantry Unit No. [--] for military in Tsu and was trained there for fifteen days. On my return I stopped by Kyoto. (.) At that time Yamanaka was busy creating a new screenplay. I answered: if only Yamanaka could spare time for me. He was already a brilliant talent at the time of directing "The Life of Bangaku" (1933). The next evening Yamanaka came to Shimokamo. He was in a kimono of dark blue stripes wearing wornout geta sandals. He had a disheveled unkempt beard and a towel was wrapped"
X Link 2025-11-07T23:15Z [----] followers, 37.8K engagements

"Alain Delon on working with the great directors: "My relationship with Visconti at the beginning was attentive respectful and submissive because Visconti was a master more a director of opera than cinema. But to put things in their place I made a movie before Visconti in [----] Plein Soleil by Rene Clement and it was watching this film that Visconti decided that I would be Rocco. For me this was an important stage and I did cinema in Italy with Antonioni and others this phase was much more important. And since I was a young man it was only much later that I discovered my chance and the"
X Link 2025-11-08T23:15Z [----] followers, [----] engagements

"Ennio Morricone on the term Spaghetti Western: "You know when I hear the term Spaghetti Western I stop talking. Because its an insult to the work of Sergio Leone. Spaghetti are something you eat but the work of Leone is certainly not something you eat." "No spaghetti for Ennio Morricone" byIlario Colli published by Limelight in [----] Once Upon a Time in the West (1968)"
X Link 2025-11-10T21:29Z [----] followers, 26.9K engagements

"In memory of Tatsuya Nakadai (December [--] [----] - November [--] 2025). "When I was in my 20s Mr. Kurosawa crushed my confidence as an actor inSeven Samuraiand I was determined to never be in another Kurosawa film. Just around then I was fortunate to be chosen to be inHuman Condition. We filmed the first and second part of the film during the first half of a year and prepared to shoot the third and fourth part during the rest of that year. Around that time Mr. Kurosawa appointed me to be inYojimbo. I was so sure I would never want to be in his film that I turned down the offer at first. But he"
X Link 2025-11-11T05:12Z [----] followers, 114.1K engagements

"Rob Reiner on the "cult" of This is Spinal Tap (1984): "You know its hard to explain the cult ofSpinal Tap.Now you get generations to pass it on its even got into the National Film Registry The biggest kick I got was maybe [--] years ago I was at a fundraiser and Elon Musk shows up. Hes got this new car and he says Look I want to show you this its a brand-new car Im going to come out with its called a Tesla. It was a really cool looking car but he brings me over and sits me in the passenger seat and he turns on the radio And it goes up to [--] (Laughs) He says he put that in there because he"
X Link 2025-12-15T19:32Z [----] followers, [----] engagements

"Remembering Sergei Parajanov on his birthday (January [--] [----] - July [--] 1990). "Directing is fundamentally the truth as it's transformed into images: sorrow hope love beauty. Sometimes I tell others the stories in my screenplays and I ask: "Did I make it up or is it the truth" Everyone says: "It's made up." No it's simply the truth as I perceive it." "Sergei Parajanov Speaks Up" By Ron Holloway (1988) published in the Spring [----] Issue of KINEMA Sergei Parajanov Shadows of Forgotten Ancestors (1965) The Color of Pomegranates (1969) The Legend of Suram Fortress (1985)."
X Link 2026-01-09T20:31Z [----] followers, 10.2K engagements

"Happy birthday to Jim Jarmusch (b. January [--] 1953). "Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films new films music books paintings photographs poems dreams random conversations architecture bridges street signs trees clouds bodies of water light and shadows. Select only things to steal from that speak directly to your soul. If you do this your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And dont bother concealing your thieverycelebrate it if you feel like it. In any case"
X Link 2026-01-22T20:15Z [----] followers, 61.7K engagements

"Tobe Hooper on filming The Texas Chain Saw Massacre (1974): Interviewer: "There was also a lot of running around with a chainsaw and a heavy hammer. Was set safety a thing" Hooper: "Well that hammer was switched. Right before Bill Vail the actor who plays Kirk gets hit with it we switched it to a rubber hammer. But Gunnar hit him so hard with it he really knocked him down. Bill had a big welt on his eye. And the broomstick that Jim Siedow uses to poke Marilyn Burns that was fake also. I told Bob Burns to make a fake one so as not to hurt Marilyn. When Jim was whacking her with it I didnt"
X Link 2026-01-25T18:22Z [----] followers, 24K engagements

"Happy birthday to cinematographer Slawomir Idziak (b. January [--] 1945). "My job is to adjust. I have to understand what kind of partner Im working with because filmmaking is a kind of ping-pong and I have to play accordingly." "Interview: Slawomir Idziak" by Yonca Talu Film Comment [----] Sawomir Idziak A Short Film About Killing (1988) The Double Life of Vronique (1991) Three Colors: Blue (1993) Gattaca (1997) Black Hawk Down (2001). https://twitter.com/i/web/status/2015581199557607624 https://twitter.com/i/web/status/2015581199557607624"
X Link 2026-01-26T00:23Z [----] followers, [----] engagements

"Krzysztof Kielowski on Three Colors: White (1994): "It'll be a very different film from Blue. That's how it was written and that's how it was made. It's supposed to be a comedy but I don't think it's going to be all that funny. I've cut out most of what was supposed to be funny but didn't turn out that way. White is about equality understood as a contradiction. We understand the concept of 'equality' that we all want to be equal. But I think this is absolutely not true. I don't think anybody really wants to be equal. Everybody wants to be more equal. There's a saying in Polish: There are"
X Link 2026-01-26T23:25Z [----] followers, [----] engagements

"Milo Forman on making One Flew Over the Cuckoo's Nest (1975): "I worked on the firstdraftof our screenplay with Larry Hauben and later rewrote it with another very fine screenwriter Bo Goldman. Hauben and I wrote the first version right in the Oregon state mental hospital in Eugene Oregon where we would later shoot it so I got to know the location and the people there before we went into production. It rained a lot and when it didnt rain the place was usually shrouded in gloomy fog. Thesettinghappened to be appropriate to the story which was a stroke of luck because we didnt have any"
X Link 2026-01-27T21:44Z [----] followers, [----] engagements

"Stanley Kubrick on Stephen King: "I would say Kings great ability is in plot construction. He doesnt seem to take great care in writing I mean the writing seems like if he writes it once reads it maybe writes it again and sends it off to the publisher. He seems mostly concerned with invention which I think hes very clear about." Stanley Kubrick interviewed by Vicente Molina Foix in 1980"
X Link 2026-01-27T23:09Z [----] followers, 169.5K engagements

"Hiroshi Teshigahara on The Face of Another (1966): Joan Mellen: "What is the major theme of The Face of Another Tanin no Kao Is it the problem of personal identity in the crowded anonymity of Japanese society Are you exploring how individuals find a means of distinguishing themselves from the group" Teshigahara: "No I dont think so. This movie is about the breakdown of communication between people not only in Japan but universally. The protagonist loses his face once and finds a new face. It is a form of irony. He thought that his isolation was a result of not having a face having to wear a"
X Link 2026-01-28T23:59Z [----] followers, [----] engagements

"Akira Kurosawa on filming the sun in Rashomon (1950) and the hypocritical claim he heard from Daiei's president on television: "I had to figure out how to use thesunitself. This was a major concern because of the decision to use the light and shadows of the forest as a keynote for the entire film. I determined to solve the problem by actually filming thesun. These days especially it is not uncommon to point the camera directly at thesun but at the time Rashomon was being made such a shot was still one of the taboos of cinematography. It was even thought that the suns rays shining directly"
X Link 2026-01-30T21:16Z [----] followers, 11.9K engagements

"Christopher Doyle on the black-and-white shots in Fallen Angels (1995): "We fucked up with the film stock. It was old. We couldnt re-shootso of course it was foggy in color. We said: maybe this can represent something so lets pick some other pieces and thats what we did. Because of a mistake a certain structure came out of the film and you can write a PhD about it if you want. What happened was that we gave it a system so we made the most important parts of each scene in black-and-white. But that was a solution to the problem not an original concept. We just appropriated the mistake and made"
X Link 2026-01-30T23:34Z [----] followers, 13.5K engagements

"Martin Scorsese on John Ford: "To me and to so many directors John Ford is a towering figure and continues to be a profound inspiration. His films deftly convey his unique and acute sense of humanity his deep understanding of people. When I first started watching his films Ford's force behind the camera was palpable. He was a visionary in the truest form and his films are enriched with artistic energy. I see his films often studying them and each time I learn something new." "Martin Scorsese in Dublin for IFTA Masterclass and IFTA John Ford Award Presentation" Irish Film & Television Academy"
X Link 2026-02-01T22:14Z [----] followers, 28.2K engagements

"Andrei Tarkovsky on Otar Iosseliani and Andrei Konchalovsky's A Lover's Romance (1974): "Analysis of an acted film can and should include discussion of how the director has organised life in front of the camera; but not of the method used by the camera-man. OtarYoseliani for example from Falling Leaves through Songthrush and right up to Pastorale moves steadily closer to life aiming to capture it with ever greater immediacy. Only the most superficial insensitive and formalistic critic could be so bogged down in documentary detail as to miss the poetic vision which distinguishes Yoseliani's"
X Link 2026-02-02T19:56Z [----] followers, [----] engagements

"Park Chan-Wook on his influences: "Im actually not sure how much influence I get from filmmakers whose works I like because I even forgot about the films of theirs that I have watched in the past. Under that caveat Yasuzo Masumura is a film director whose films never cease to amaze me. He has had a very interesting career. He went to Tokyo University law school meaning that hes from the elite. Yet his films dont feel at all like they were made by someone from the elite. Its more like they were made by a crazy eccentric person The other filmmaker that I really like is Mikio Naruse. You might"
X Link 2025-08-20T19:26Z [----] followers, 94.3K engagements

"Peter Weir on the girls disappearance in Picnic at Hanging Rock (1975): "I'm of the kind of mind that accepts that there are no answers to every question. I went across a number of theories.and the most plausible one is that the rock formation that they disappeared around has unplumbed depths.filled with holes and cave-like areas that they haven't been able to reach the bottom of with the most sophisticated measuring equipment. So it's conceivable that they could've fallen into one of these caves. The other interesting thing is the notion of time itself. Sort of a Bermuda Triangle type of"
X Link 2025-08-21T16:54Z [----] followers, 17.7K engagements

"Happy birthday to Park Chan-wook (August [--] [----] - present). "I do want the viewer to be stimulated mentally and emotionally when they observe my work. But even more than that to experience something physical like cringing or being absolutely dead exhausted after watching my films. Watching a film shouldnt be an easy giggling everyday experience but a really shocking stimulating and at times painful experience. My violence is not like those in action films where the fight sequences are beautiful and choreographed or like those at the end of a revenge sequence with the villain where its"
X Link 2025-08-23T14:49Z [----] followers, [----] engagements

"Happy birthday to Brian De Palma (September [--] [----] - present). "I get strongvisualideas and then I try to develop the story around them. Hitchcock makes drawings for all his films before he shoots them and that is why his movies are so precise: he has incrediblevisualideas and everything is worked out like a Swiss watch. Unfortunately most movies derive from a literary rather than avisualintent. But I always think in terms of what is on the screen not what is on paper. I am not primarily a writer and I always have very precisevisualideas and then try to construct a story around them as"
X Link 2025-09-11T17:09Z [----] followers, 22.5K engagements

"Quentin Tarantino Talks to Brian De Palma 1994: Tarantino: "Before we first met I spoke to someone who knew you and who told me you were going to see Reservoir Dogs. And I said "Whoa he won't like it at all" and they go "Well how come" I said Well he doesn't like pictures of people talking to each other and that's all my movie is people just talking to each other" But then you saw it you liked it and you wanted to meet me. Actually you did something very sweet because you didn't know then if I had a distributor or not and you were giving me really practical advice; like you have always to"
X Link 2025-09-11T20:46Z [----] followers, 20.8K engagements

"Shhei Imamura on Akira Kurosawa and Toshiro Mifune: "I should tell you that I have very deep respect for Akira Kurosawa. This is someone that I idolised. At first I thought that he was a bit too rough but then learnt more about how he worked. For example he used Toshiro Mifune in most of his films. I once visited Toho Studios and I saw Mifune and formed the opinion that he was not a good actor. He was really dreadful and had a dialect a heavy accent in Japanese and didn't seem to know the first thing about acting. But under the direction of Kurosawa he became a great performer. I was deeply"
X Link 2025-09-15T23:18Z [----] followers, [----] engagements

"Sergio Leone on Claudia Cardinale's role in Once Upon a Time in the West (1968): "When I used Claudia Cardinale for example inOnce Upon a Time in the West she represented the birth of American matriarchy. Because women had enormous weight in America. And they still have. Because they are truly the padrone owners masters of America. Therefore when they are put into a film I think they have to be put in for a distinct purpose and have a reason to exist. Not as some superficial or gratuitous presence. You see inOnce Upon a Time in the Westthe whole film moves around her Cardinale. If you take"
X Link 2025-09-24T03:37Z [----] followers, 33.8K engagements

"Remembering Michelangelo Antonioni on his birthday (September [--] [----] - July [--] 2007). "The rhythm of life is not made up of one steady beat; it is instead a rhythm that is sometimes fast sometimes slow; it remains motionless for a while then at the next moment it starts spinning around. There are times when it appears almost static there are other times when it moves with tremendous speed and I believe all this should go into the making of a film. Im not saying one should slavishly follow the day-to-day routine of life but I think that through these pauses through this attempt to adhere to a"
X Link 2025-09-29T19:03Z [----] followers, [----] engagements

"Federico Fellini on Michelangelo Antonioni: "I have respect for his constancy his fanatical integrity and his refusal to compromise. Antonioni had a very difficult professional beginning. His films for many years were not accepted and another man less honest less strong would have made retreats. But Antonioni kept on his solitary road doing what he believed he should do until he was recognized as a great creator. This has always made an enormous impression on me. He is an artist who knows what he wants to say and that's a lot." Federico Fellini interviewed by Playboy Magazine in 1966"
X Link 2025-09-29T21:06Z [----] followers, 12.9K engagements

"Masaki Kobayashi on Kwaidan (1964): "As a sort of shorthand description one could say it was a horror film. My main intention in the film was to explore the juxtaposition between man's material nature and his spiritual nature the realm of dream and aspiration. I wanted to create a drama that dealt directly with the spiritual importance of our lives. I also enjoyed conveying the sheer beauty of traditional Japan. Anyway I am not really satisfied with the designation of "horror film." It's spiritual concerns are the center of the drama." Masaki Kobayashi interviewed by Joan Mellen in 1972"
X Link 2025-10-02T23:33Z [----] followers, 32.9K engagements

"Orson Welles on Buster Keaton: "Keaton was beyond all praise . . . a very great artist and one of the most beautiful men I ever saw on the screen. He was also a superb director. In the last analysis nobody came near him." This is Orson Welles by Orson Welles and Peter Bogdanovich published in [----] Pictured: Our Hospitality (1923) Sherlock Jr. (1924) The General (1926) The Cameraman (1928)"
X Link 2025-10-04T20:11Z [----] followers, [----] engagements

"Masaki Kobayashi on working with Tatsuya Nakadai from [----] interview with Joan Mellen: Mellen: "Is there any special reason why you have used TatsuyaNakadai Japans most glamorous male actor in your films" Kobayashi: "He possesses a quality shared by both the pre- and the postwar generations. In Ningen no Joken The Human Condition I needed an actor capable of expressing the ideas and thoughts of both generations." Mellen: "Because of his age" Kobayashi: "Not so much because of his age. He had a quality an ability to characterize the sensibilities of two strikingly different generations. When I"
X Link 2025-11-11T20:58Z [----] followers, 21.7K engagements

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