”What matters to me is that the feeling excited by my films should be universal. An artistic image is capable of arousing identical feelings in viewers, while the thoughts that come later may be very different. If you start to search for a meaning during the film you will miss everything that happens. The ideal viewer is someone who watches a film like a traveler watching the country he is passing through: because the effect of an artistic image is an extra-mental type of communication. There are some artists who attach symbolic meaning to their images, but that is not possible for me. Zen poets have a good way of dealing with this: they work to eliminate any possibility of interpretation, an in the process a parallel arises between the real world and what the artist creates in his work.”
--- Andrei Tarkovsky
from Against interpretation: an interview with Andrei Tarkovsky / Spring 1981
The Empress of China (2014–2015)
Look for the unimaginable inside the ordinary. Go to places you would not ordinarily go alone - riverbanks. Deep woods. The part of the ocean shore where peoples’ gazes disappear. Wade in all waters. Let your imagination change what you know.
Lidia Yuknavitch, from her preface of “The Chronology of Water,” c. 2011 (via violentwavesofemotion)
Kingdom of Heaven (2005) | dir. Ridley Scott
Saladin & King Baldwin
I shall be dumped where the weed decays, and the rest is rust and stardust.
Vladimir Nabokov, Lolita (via quotespile)
I don’t know how many souls I have. I’ve changed at every moment. I always feel like a stranger. I’ve never seen or found myself. From being so much, I have only soul. A man who has soul has no calm. A man who sees is just what he sees. A man who feels is not who he is.
Attentive to what I am and see, I become them and stop being I. Each of my dreams and each desire Belongs to whoever had it, not me. I am my own landscape, I watch myself journey - Various, mobile, and alone. Here where I am I can’t feel myself.
That’s why I read, as a stranger, My being as if it were pages. Not knowing what will come And forgetting what has passed, I note in the margin of my reading What I thought I felt. Rereading, I wonder: “Was that me?” God knows, because he wrote it.
Fernando Pessoa, I don't know how many souls I have
“What is that American promise? It’s a promise that says each of us has the freedom to make of our own lives what we will, but that we also have obligations to treat each other with dignity and respect,” Barack Obama said at the Democratic National Convention in 2008. And that section of the speech opens Andrew Dominik‘s seething “Killing Them Softly,” as he cuts the audio between white noise and the silent black title screen, signifying the blind emptiness of Obama’s statement and the thematic current he’ll be taking for the film. We are not a changed nation. We are not a nation of equals...
The Godfather (1972)
Director: Francis Ford Coppola DoP: Gordon Willis
‘I believe in America’
3 Films by Jonathan Glazer
Under The Skin, Sexy Beast, Birth
The Virgin Suicides (1999) | dir. Sofia Coppola | USA
Cinematography by Edward Lachman