duminică, 20 decembrie 2015
vineri, 13 noiembrie 2015
marți, 3 noiembrie 2015
luni, 19 octombrie 2015
duminică, 27 septembrie 2015
Susan Sontag on STORYTELLING...
via BrainPickings :
A novel is a world with borders. For there to be completeness, unity, coherence, there must be borders. Everything is relevant in the journey we take within those borders. One could describe the story’s end as a point of magical convergence for the shifting preparatory views: a fixed position from which the reader sees how initially disparate things finally belong together.
To be a moral human being is to pay, be obliged to pay, certain kinds of attention.
Love words. Agonize over sentences. And pay attention to the world.
Be serious. Never be cynical. Which doesn’t preclude being funny.
Be serious. Never be cynical. Which doesn’t preclude being funny.
A
great writer of fiction both creates —
through acts of imagination, through language that feels inevitable,
through vivid forms — a new world, a world that is unique,
individual; and responds to a world, the world the writer shares with
other people but is unknown or mis-known by still more people,
confined in theirworlds:
call that history,
society, what you will.
The
primary task of a writer is to write well. (And to go on writing
well. Neither to burn out nor to sell out.) … Let the dedicated
activist never overshadow the dedicated servant of literature — the
matchless storyteller.
To
write is to know something. What a pleasure to read a writer who
knows a great deal.
Serious
fiction writers think about moral problems practically. They tell
stories. They narrate. They evoke our common humanity in narratives
with which we can identify, even though the lives may be remote from
our own. They stimulate our imagination. The stories they tell
enlarge and complicate — and, therefore, improve — our
sympathies. They educate our capacity for moral judgment.
Every
writer of fiction wants to tell many stories, but we know that we
can’t tell all the
stories — certainly not simultaneously. We know we must pick one
story, well, one central story; we have to be selective. The art of
the writer is to find as much as one can in that story, in that
sequence … in that time
(the timeline of the story), in that space
(the concrete geography of the story).
Time
exists in order that everything doesn’t happen all at once … and
space exists so that it doesn’t all happen to you.
The
work of the novelist is to enliven time, as it is to animate space.
Every
fictional plot contains hints and traces of the stories it has
excluded or resisted in order to assume its present shape.
Alternatives to the plot ought to be felt up to the last moment.
These alternatives constitute the potential for disorder (and
therefore of suspense) in the story’s unfolding.
Endings
in a novel confer a kind of liberty that life stubbornly denies us:
to come to a full stop that is not death and discover exactly where
we are in relation to the events leading to a conclusion.
The
pleasure of fiction is precisely that it moves to an ending. And an
ending that satisfies is one that excludes. Whatever fails to connect
with the story’s closing pattern of illumination the writer assumes
can be safely left out of the account.
A novel is a world with borders. For there to be completeness, unity, coherence, there must be borders. Everything is relevant in the journey we take within those borders. One could describe the story’s end as a point of magical convergence for the shifting preparatory views: a fixed position from which the reader sees how initially disparate things finally belong together.
To
tell a story is to say: this
is
the important story. It is to reduce the spread and simultaneity of
everything to something linear, a path.
To be a moral human being is to pay, be obliged to pay, certain kinds of attention.
When
we make moral judgments, we are not just saying that this is better
than that. Even more fundamentally, we are saying that this
is
more important
than
that.
It is to order the overwhelming spread and simultaneity of
everything, at the price of ignoring or turning our backs on most of
what is happening in the world.
The
nature of moral judgments depends on our capacity for paying
attention — a capacity that, inevitably, has its limits but whose
limits can be stretched.
But
perhaps the beginning of wisdom, and humility, is to acknowledge, and
bow one’s head, before the thought, the devastating thought, of the
simultaneity of everything, and the incapacity of our moral
understanding — which is also the understanding of the novelist —
to take this in.
joi, 10 septembrie 2015
luni, 7 septembrie 2015
Danny Boyle On Lessons Learned (I)
”I say sort of semi-controversially or provocatively, your first film is your best film, always, because it has that innocence about it, about not knowing what you’re doing.”
”I began to learn how to contradict film culture just in the way films are made. I got much more into doing it in what you would call an unprofessional way. I’m not a big fan of the tautly professional films that do things ‘the right way.’ I think it’s not a great spur to creativity sometimes.”
”You learn sometimes that the most obvious fucking thing is the thing we need. And don’t try to avoid it, because sometimes you get all wrapped up in subtlety, but sometimes it’s the most obvious thing that you need to do.”
”The precision you have to bring is migraine-inducing, and the patience you have to have while you wait for CG. If I ever did another movie like that, I would take a break during editing. Editing is such an organic thing; you keep editing, even though you should have stopped. What you’re really doing is waiting for these CG effects to arrive and we should have taken six months off. Because what you’re doing is cutting the film and there are huge swaths of it you haven’t got. But the fact that they’re not there affects how you cut after it, so actually you’re distorting the film. I’d certainly advise anyone about big CG to build in a break.”
”[...] in reality, making a film, if you just make the facts, it doesn’t necessarily work and it doesn’t look truthful. And it’s because something else happens in art and film, which is that you have to represent truth rather than photograph it.”
”I learned that the dark stuff is always there. You might be doing the wholesome family entertainment as your day job, but at night the dark stuff is still there."
”I began to learn how to contradict film culture just in the way films are made. I got much more into doing it in what you would call an unprofessional way. I’m not a big fan of the tautly professional films that do things ‘the right way.’ I think it’s not a great spur to creativity sometimes.”
”You learn sometimes that the most obvious fucking thing is the thing we need. And don’t try to avoid it, because sometimes you get all wrapped up in subtlety, but sometimes it’s the most obvious thing that you need to do.”
”The precision you have to bring is migraine-inducing, and the patience you have to have while you wait for CG. If I ever did another movie like that, I would take a break during editing. Editing is such an organic thing; you keep editing, even though you should have stopped. What you’re really doing is waiting for these CG effects to arrive and we should have taken six months off. Because what you’re doing is cutting the film and there are huge swaths of it you haven’t got. But the fact that they’re not there affects how you cut after it, so actually you’re distorting the film. I’d certainly advise anyone about big CG to build in a break.”
”[...] in reality, making a film, if you just make the facts, it doesn’t necessarily work and it doesn’t look truthful. And it’s because something else happens in art and film, which is that you have to represent truth rather than photograph it.”
”I learned that the dark stuff is always there. You might be doing the wholesome family entertainment as your day job, but at night the dark stuff is still there."
vineri, 4 septembrie 2015
joi, 3 septembrie 2015
duminică, 9 august 2015
sâmbătă, 8 august 2015
miercuri, 5 august 2015
marți, 16 iunie 2015
duminică, 14 iunie 2015
sâmbătă, 13 iunie 2015
vineri, 12 iunie 2015
miercuri, 10 iunie 2015
luni, 8 iunie 2015
Chris Pratt dixit
I want to make a heartfelt apology for whatever it is I end up accidentally saying during the forthcoming ”JurassicWorld” press tour. I hope you understand it was never my intention to offend anyone and I am truly sorry. I swear. I'm the nicest guy in the world. And I fully regret what I (accidentally will have) said in (the upcoming foreign and domestic) interview(s).
I am not in the business of making excuses. I am just dumb. Plain and simple. I try. I REALLY try! When I do (potentially) commit the offensive act for which I am now (pre) apologizing you must understand I (will likely have been) tired and exhausted when I (potentially) said that thing I (will have had) said that (will have had) crossed the line. Those rooms can get stuffy and the hardworking crews putting these junkets together need some entertainment! (Likely) that is who I was trying to crack up when I (will have had) made that tasteless and unprofessional comment. Trust me. I know you can't say that anymore. In fact in my opinion it was never right to say the thing I definitely don't want to but probably will have said. To those I (will have) offended please understand how truly sorry I already am. I am fully aware that the subject matter of my imminent forthcoming mistake, a blunder (possibly to be) dubbed "JurassicGate" is (most likely) in no way a laughing matter. To those I (will likely have had) offended rest assured I will do everything in my power to make sure this doesn't happen (again). [Chris Pratt]
sâmbătă, 30 mai 2015
joi, 21 mai 2015
vineri, 15 mai 2015
duminică, 3 mai 2015
joi, 16 aprilie 2015
miercuri, 15 aprilie 2015
sâmbătă, 11 aprilie 2015
marți, 3 martie 2015
miercuri, 18 februarie 2015
Chris Jones dixit
"Keep the investment to a minimum and the innovation to a maximum."
"(...) in the end it's not about how far we go, but how far we travel from our starting point (...)"
"(...) in the end it's not about how far we go, but how far we travel from our starting point (...)"
luni, 16 februarie 2015
Werner Herzog dixit:
1. Always take the initiative.
2. There is nothing wrong with spending a night in jail if it means getting the shot you need.
3. Send out all your dogs and one might return with prey.
4. Never wallow in your troubles; despair must be kept private and brief.
5. Learn to live with your mistakes.
6. Expand your knowledge and understanding of music and literature, old and modern.
7. That roll of unexposed celluloid you have in your hand might be the last in existence, so do something impressive with it.
8. There is never an excuse not to finish a film.
9. Carry bolt cutters everywhere.
10. Thwart institutional cowardice.
11. Ask for forgiveness, not permission.
12. Take your fate into your own hands.
13. Learn to read the inner essence of a landscape.
14. Ignite the fire within and explore unknown territory.
15. Walk straight ahead, never detour.
16. Manoeuvre and mislead, but always deliver.
17. Don’t be fearful of rejection.
18. Develop your own voice.
19. Day one is the point of no return.
20. A badge of honor is to fail a film theory class.
21. Chance is the lifeblood of cinema.
22. Guerrilla tactics are best.
23. Take revenge if need be.
24. Get used to the bear behind you.
2. There is nothing wrong with spending a night in jail if it means getting the shot you need.
3. Send out all your dogs and one might return with prey.
4. Never wallow in your troubles; despair must be kept private and brief.
5. Learn to live with your mistakes.
6. Expand your knowledge and understanding of music and literature, old and modern.
7. That roll of unexposed celluloid you have in your hand might be the last in existence, so do something impressive with it.
8. There is never an excuse not to finish a film.
9. Carry bolt cutters everywhere.
10. Thwart institutional cowardice.
11. Ask for forgiveness, not permission.
12. Take your fate into your own hands.
13. Learn to read the inner essence of a landscape.
14. Ignite the fire within and explore unknown territory.
15. Walk straight ahead, never detour.
16. Manoeuvre and mislead, but always deliver.
17. Don’t be fearful of rejection.
18. Develop your own voice.
19. Day one is the point of no return.
20. A badge of honor is to fail a film theory class.
21. Chance is the lifeblood of cinema.
22. Guerrilla tactics are best.
23. Take revenge if need be.
24. Get used to the bear behind you.
miercuri, 28 ianuarie 2015
duminică, 18 ianuarie 2015
vineri, 16 ianuarie 2015
duminică, 11 ianuarie 2015
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