“I don’t find any systematic way of reading…For me, it’s a terrifying prospect to realize all of the books there are in the world that you’re never going to read, which you should read. So I find by just reading at random…that seems like the best approach since there’s no systematic way.”

–Stanley Kubrick

[Interviewed by Michel Ciment. A voix nue.]

[Via Obscure437.]

To make a film entirely by yourself, which initially I did, you may not have to know very much about anything else, but you must know about photography.
—  ‘Oui, il y a des revenants’, 
Michel Ciment
, L'Express, 18.10.1980
; English version, edited by Kubrick, in Kubrick, HarperCollins (1982) & Kubrick: The Definitive Edition, Faber & Faber [US] (2001)
A story of the supernatural cannot be taken apart and analysed too closely. The ultimate test of its rationale is whether it is good enough to raise the hairs on the back of your neck. If you submit it to a completely logical and detailed analysis it will eventually appear absurd. In his essay on the uncanny, Das Unheimliche, Freud said that the uncanny is the only feeling which is more powerfully experienced in art than in life. If the genre required any justification, I should think this alone would serve as its credentials.
—  Stanley Kubrick on “The Shining”

Of course there is a danger that some audiences may misunderstand what you say and think that one can dispense altogether with reason, falling into the clouded mysticism which is currently so popular in America.

People can misinterpret almost anything so that it coincides with views they already hold. They take from art what they already believe, and I wonder how many people have ever had their views about anything important changed by a work of art?

—  Stanley Kubrick (in interview with Michel Ciment) 
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If you have 11 minutes and are a fan, it’s always interesting to listen to what Mr. Kubrick has to say.

Michel Ciment Interviews Stanley Kubrick (by unclesporkums)

To have been a professional photographer was obviously a great advantage for me, though not everyone I subsequently worked with thought so.
—  ‘Oui, il y a des revenants'
, Michel Ciment, 
L'Express 18 Oct. 1980. 
Reprinted in Kubrick, Calmann-Lévy (1980). 
English version, edited by Kubrick, in Kubrick, HarperCollins (1982); Kubrick: The Definitive Edition, Faber & Faber [US] (2001).

Otar Iosseliani @ 2014 FICUNAM

FICUNAM, in its fourth edition, will present a retrospective of the work by the Georgian filmmaker Otar Iosseliani.

The Festival, since its first edition, is proposed as a bridge between amateur contemporary cinema audiences and demanding cinephiles of classic cinema, that essential to understand the actual history and its legacy.

One of the great figures in the history of cinema is the giant Georgian Otar Iosseliani (Tbilisi , Soviet Union , 1934), - little revised in our country- his work will be a real discovery for moviegoers .

Iosseliani ventured into film after finishing his studies in piano and composition. He made his first feature film, April, in 1961. Due to the social nature and aesthetics of his work, many of his films were repeatedly banned in the USSR , so Iosseliani emigrated to France in 1982.

In a famous interview with Michel Ciment, Iosseliani made quite ​​clear his view:

I discovered the rules of my art: it should be like life. If we want to give a little joy, we must create honestly, being faithful to the truth. I do not want to teach people how to live: Everyone is born to drink from the glass of their own life.

The films that make up the Otar Iosseliani retrospective will be screening at the University Cultural Center, The Chopo Cinematograph and the National Cineteque from February 28 to March 9, 2014 .

Complementing his visit, Iosseliani will give a master class on Friday, February 28 at the MUAC Auditorium  (Centro Cultural Universitario), an activity in conjunction with the Ingmar Bergman Chair in film and theater.

ENE / JAN 2014
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Otar Iosseliani en el FICUNAM 2014

FICUNAM en su cuarta edición presentará una retrospectiva de la obra del cineasta georgiano Otar Iosseliani.

El Festival propuso, desde su primera edición, establecer un puente entre el público aficionado al cine contemporáneo y su más exigente cinefilia hacia ese cine clásico, fundamental para entender la historia actual y su legado.

Una de las grandes figuras de la historia del cine es el gigante georgiano Otar Iosseliani (Tbilisi, ex Unión Soviética, 1934). Su obra –poco revisada en nuestro país– será un verdadero descubrimiento para el público cinéfilo.

Iosseliani se aventuró en el cine después de haber terminado la carrera de piano y composición. Realizó su primer largometraje Abril en 1961. Debido a la naturaleza social y estética de su trabajo, muchas de sus películas fueron prohibidas en varias ocasiones en la URSS, por lo que Iosseliani emigró a Francia en 1982.

Durante una famosa entrevista realizada por Michel Ciment, Iosseliani dejó clara su visión:

He descubierto las reglas de mi arte: debe ser como la vida. Si queremos dar un poco de alegría, debemos crear sinceramente, siendo fieles a la verdad. No quiero enseñarle a las personas cómo vivir. Todos nacen para beber el vaso de su vida.

Las películas que integran la retrospectiva de Otar Iosseliani se proyectarán en el Centro Cultural Universitario, en el Cinematógrafo del Chopo y en la Cineteca Nacional del 28 de febrero al 9 de marzo de 2014.

Complementando su visita, Iosseliani impartirá una clase magistral el viernes 28 de febrero en el Auditorio MUAC (Centro Cultural Universitario), actividad realizada en conjunto con la Cátedra Ingmar Bergman en cine y teatro.

ENE / JAN 2014
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Michel Ciment Interviews Stanley Kubrick (di unclesporkums)

Among a great many other things that chess teaches you is to control the initial excitement you feel when you see something that looks good. It trains you to think before grabbing, and to think just as objectively when you’re in trouble. When you’re making a film you have to make most of your decisions on the run, and there is a tendency to always shoot from the hip. It takes more discipline than you might imagine to think, even for thirty seconds, in the noisy, confusing, high-pressure atmosphere of a film set. But a few seconds’ thought can often prevent a serious mistake being made about something that looks good at first glance. With respect to films, chess is more useful preventing you from making mistakes than giving you ideas. Ideas come spontaneously and the discipline required to evaluate and put them to use tends to be the real work.
—  Stanley Kubrick, [x]

L’ouverture du cycle de cinéma “Indiens des Plaines” a eu lieu samedi dernier au musée du quai Branly, présenté par le programmateur, Michel Ciment, aussi critique et historien du cinéma. Découvrez durant ce cycle trois films du catalogue de Park Circus :

- Les Deux Cavaliers de John Ford (19/04 à 13h30)

- La Revanche d’un Homme nommé Cheval de Irvin Kershner (25/04 à 16h)

- Le Jugement des Flèches de Samuel Fuller (18/04 à 15h)


The classic study of Kubrick–available once again and fully updated

If Stanley Kubrick had made only 2001: A Space Odyssey or Dr. Strangelove, his cinematic legacy would have been assured. But from his first feature film, Fear and Desire, to the posthumously released Eyes Wide Shut, Kubrick created an accomplished body of work unique in its scope, diversity, and artistry, and by turns both lauded and controversial.

In this newly revised and definitive edition of his now classic study, film critic Michel Ciment provides an insightful examination of Kubrick’s thirteen films-including such favorites as Lolita, A Clockwork Orange, and Full Metal Jacket-alongside an assemblage of more than four hundred photographs that form a complementary photo essay. Rounding out this unique work are a short biography of Kubrick; interviews with the director, as well as cast and crew members, including Malcolm McDowell, Shelley Duvall, and Jack Nicholson; and a detailed filmography and bibliography.

Meshed with masterful integrity, the book’s text and illustrations pay homage to one of the most visionary, original, and demanding filmmakers of our time.