harrygoldfarb:

bbook:

Important.

That theater he talks about really sounds a lot like the theater I go to. You walk down these stairs and through a series of underground corridors until reaching your desired screening room. Each time I go there I feel like I’m going on an adventure into some dragon’s lair. It’s pretty cool.

cinemastatic:

“I liked it because it was such a dangerous script and showed just what human beings are capable of. Here was a movie in which Morgan Freeman and Brad Pitt, who always win in every movie they ever do, simply don’t win. I felt that was outrageous for a commercial movie.”

-Kevin Spacey [talking about the script for David Fincher’s film Se7en] 

nevver:

1. Growing up is for losers.
2. Film school is for fools.
3. Auteurism is out. Fil-teurism is in.
4. Put your ideas in a drawer. Take them out as needed.
5. All you’ve really got in life is story.
6. Command the audience with your lens.
7. Nothing can defeat a director who is one with his actors.
8. Surround yourself with improvisers.
9. Directing is not for the faint-of-heart. Or the sane.
10. Be an enlightened despot.

• Bonus Lesson: And whatever you do, don’t ever work with the Weinsteins.

more

harrygoldfarb:

Malcolm McDowell on A CLOCKWORK ORANGE.

oldhollywood:

Above, the bell ringing scene in Black Narcissus (1947, dir. Michael Powell & Emeric Pressburger) as shot on the studio lot; below, the final scene with the addition of Walter Percer Day’s glass matte painting of the Himalayas.

(via)

cinemastatic:

“I want to try not to repeat myself. But then I seem to do it continuously in my films. It’s not something I make any effort to do. I just want to make films that are personal, but interesting to an audience. I feel I get criticized for style over substance, and for details that get in the way of the characters. But every decision I make is how to bring those characters forward.”

-Wes Anderson

Jean-Clement Sorret was the digital colorist for the film, and is one of the few instances where a colorist received a spot in the opening credits. The film contains many coloring effects and “density shifts” of lighting to reflect the moods of the characters. For example, when Hayley gets angry the colors would be edited to be of lower frequency. One effect used which, as far as the director is aware of, had not been done in cinema before, was to brighten the lighting in filming and recorrect everything down in post-production. This allowed for facial details to be visible even while having a darkened atmosphere

brightwalldarkroom:

LIFE IS BUT A DREAM.

by Chad Perman

I go to the movies because of movies like Hugo. I believe in movies because of movies like Hugo. And not to put too fine a point on it, but this entire site basically exists because of movies like Hugo.

Martin Scorsese’s first truly family friendly…