favorite filmmaker


Tangerine (dir. Sean Baker)

No, I think my favorite scene is the last scene, simply because for a filmmaker, your favorite scenes are always the scenes that are exactly how you envisioned them. We only did one take of that, because it was actually really brave for those two to do that. It was very uncomfortable for them. It was about as close to, like, when we think of a sex scene, because… they’re naked. When the wigs come off, for them, it was really stripping away any privacy whatsoever. (source)


“One of my favorite filmmakers, especially when I was in film school, is Lynne Ramsay. And Lynne’s first few films, she was notorious for blending actors and non-actors in Ratcatcher and Morvern Callar. And she always spoke about the tension that arises where the trained actor cannot rely on old tricks, cannot rely on muscle memory to react to the person they’re in scene with. So it was something I spoke to James [Laxton, the cinematographer] about because we knew our shooting style would be altered a little bit; when you’re working with a non-actor you can’t be as rigorous with some of the technical aspects of the process… We did a lot of work searching for non-actors that we felt like we could trust in scene to give us what we needed as characters not just the people they were. But I didn’t direct them any differently than I did the others. There was something about speaking to Alex Hibbert that was different than speaking to Mahershala Ali. But I tried to use the same voice. Over the course of the project - who was a non-actor, who was an actor - that line became blurred to the point of non-distinction… My direction to a guy like Alex Hibbert, who’s never acted before, who plays Little in the first story was maybe, to be honest, more direct than it was to the actors. Rather than talking about emotions or meaning, I’d talked to Alex about what we needed to do. And then it got to the point where I would start telling him and then he’d be like, “No, no, no, no, no, I got it, I got it Barry.” Just a brilliant kid.”

- Barry Jenkins, on working with non-actors, Masterclass at Rotterdam International Film Festival


“One of my favourite scenes, which is a perfect example of what [director] Jeff [Nichols] does so masterfully, is when Richard and Mildred come back to Virginia. They’re not saying a word and Mildred just takes a moment to feel the sun. In that moment, without any dialogue, you not only sense what coming home means to her — you also feel it. You feel the temperature, you feel the light, you can smell. It’s like adding another dimension to watching a movie.”

“And it’s not just that, you see him looking at her. And the tiniest bit of a smile breaks through his reserve, because he’s given her what she’s wanted so badly. And then he looks up the road, where all the bad things may come from, and he feels the anxiety again. And all of that happens in a few seconds of screen time.”

–  “Loving” producer Colin Firth describing his favourite moment in the film 

‘cause when you walked into the room just then

theatre au collab with @alrightpotter. here’s her part.

a/n: lucie, my love!!! happy birthday!!! i’d want to know you if you reached peak gay or became buffy summers dog or could only eat car tires. i love you badly. id probably give up weetbix for you. have the best day in the world.

Godric’s Post                                                                              8th February 2009

Film: The Wind In the Whomping Willows
Director: Bathilda Bagshot
Plot Summary: 4 friends go for a picnic. Boredom ensues.

I’ve never liked Bathilda Bagshot, and yes this may have been because of an incident at one of my parents’ house parties where she literally hissed at me when I reached for another baked potato, but the point still stands. She continues rely on prolonged dialogue scenes that don’t move the plot along and stretch to the point of absurdity, until the viewer is begging for a change in scene, shot, anything, only to presented with (unbelievably) yet more boredom.  

So put aside whatever resentment you’re harbouring that I just name dropped Bathilda Bagshot and that she used to come to my house, and wallow in how wasted my Friday night was watching this garbage. My personal highlight was the closing credits, because it meant I could at last be free from this endless hell of four people sitting in a wood, talking about sandwiches and grass for two hours straight.

Naturally I imagine some people enjoyed the film, (Bagshot does know her way around a camera, I’ll give her that, the cinematography was flawless.) however dear, cherished, hopefully-subscribed-and-not-reading-this-on-the-free-trial-reader, I must ask: who doesn’t like a little during movie commentary? Before Friday I would have said no one, but after Friday I would have to say no one, with the exception of uptight, haughty gingers.

Rather like Penelope Clearwater’s unfortunate character in The Wind in the Whomping Boredom, I too found myself being falsely accused of a crime I did not commit. In Clearwater’s case (she shines in the film, despite Bagshot’s insistence she be holding a mirror in every scene) it was of stealing the picnic sandwiches. Mine was the slightly more serious charge of ‘injuring’ a fellow reviewer.

I want it stated for the record that no such injury occurred, and that as far as I am aware popcorn is rarely classified as an assault weapon, but I am willing to hear argument on the matter. However I could be wrong because the reviewer in question seemed to genuinely enjoy the Wind In the Whomping Waste of Time, so maybe it wasn’t her eye that should be examined, but her brain.

In summary: this film has done the impossible and been even more tedious than Bagshot’s last effort, A History of the Snake Inside Me, which I didn’t think possible. My nine-year-old criticisms rarely stand up to scrutiny but I think my judgement of Ms Bagshot being The Worst has proven correct. Furthermore, I want it noted for no particular reason at all that if at any point I am contacted by a lawyer about paying medical bills for a non-existent injury, I will do something else ‘ridiculous’ and ‘childlike’ like toilet papering a Certain Reviwers house or broadcasting my witty and hilarious movie commentary over a loudspeaker during each and every film I will ever attend from this point on.

(the editor Remus J. Lupin wishes to clarify for legal reasons that comments above are aimed at no particular individual, all wishes views presented are the writer and the writers views alone, and to please not sue the paper)

Godric’s Post                                                                                  3rd March 2009

Film: 101 Fantastic Beasts
Director: Newt Scamander
Plot Summary: CGI animals have a good time. Audience have a good time.

Scamander has always had a talent for animation, even his questionable films like Beasts Which Are Fantastic If Only We Knew Where To Find Them (nonsensical, long-winded title) and The Porpentina Goldstein Story (thought it was going to be about hedgehogs. It was not.) should be seen purely for their onscreen beauty alone.

Thankfully, 101 Fantastic Beats wasn’t a repeat of the Hedgehog Incident but rather exactly what it says on the tin, 101 Fantastic Beasts romping around the city and having a jolly good time, until one of them dies and the entire world becomes a bleak hell-scape that you are desperate to escape because you can’t stop crying.

Unfortunately my screening experience of this charming film was somewhat hindered by the near constant stream of insults and accusations of ‘eye assault’ from a Certain Reviewer which culminated in said reviewer tipping popcorn that Was Not Hers across The Innocent Victims Lap.

The reviewers in question needn’t have ever spoken again but because a Certain Reviewer had slandered another Wholly Blameless Reviewer in her paper, which the Wholly Blameless Reviewer’s Mother reads, some things had to be sorted out. And those things were trying to get the Certain Reviewer to print a retraction so the Wholly Blameless Reviewers Mother would stop bloody going on about it.  

On top of this Wholly Blameless was mocked mercilessly for showing emotion during what ranks as one of the most heart-breaking scenes of all time, next to such movie moments as the ending of Dead Poets Society and the shooting of Bambi’s mother in Bambi. Obviously a Certain Reviewer needs to borrow a heart so she doesn’t have to poke fun at others for having what she does not: feelings. Wholly Blameless would be happy to lend her some of his, as he’s just good like that and not at all the ‘slice of expired a*shole’ he’d previously been accused of being.

101 Beasts has heart (unlike Certain Reviewer’s) and is appropriate for the whole family excluding twelve year olds, because obviously they’re terrible and you’d never want to take them anywhere anyway, so it’s a win-win.

(The editor wishes to clarify that the writers list of saddest movie moments is flawed because it has left off the Jack death scene from Titanic because the writer thinks ‘Cameron clearly emotionally manipulated the audience’ and ‘there was plenty of room for both of them on that door’ because the writer is an imbecile. The editor cannot believe he is the film critic.)

Godric’s Post                                                                                  11th April 2009

Film: The Cupboard Under The Stairs
Director: Gilderoy Lockhart
Summary: You really don’t want to know.

Gilderoy Lockhart has won two Oscars, and yet every time I watch one of his films I have to forcefully remind myself that it wasn’t shot by a nine-year old with a camcorder who uses their dog as a sound assistant. The dullness of the film will stun and bewilder all who see it, as it defies reason why such a thing should be made.

True Hairy Chins Shouldn’t Be Seen By The Public was wildly funny (despite meaning to be a serious documentary), but aside from that I can’t think of a Lockhart film I’ve ever enjoyed aside from classics like Gadding With Ghouls and Travels With Trolls which hardly look like Lockhart films at all, despite him having directed them.

Cupboard Under The Stairs is so mind-blowing ridiculous, from the wooden dialogue to the extended shots of director and star Lockhart doing mind-numbingly boring tasks while smiling garishly, that when I found myself sitting next to a Certain Reviewer I didn’t even bother to move but rather stayed if only to have something to do. A slight physical fight broke out, and by fight I mean a Certain Reviewer hit me for a comment I made about the twenty second long director credit, so obviously I pinched her, and then before I knew what was happening we had been thrown out.

I don’t want you to think, dear reader who has clicked on this review and therefore pays my rent, that I might have acted unprofessionally by getting thrown out a movie twenty minutes in. I want to clarify: I absolutely acted unprofessionally. There is no ‘might’ about it. But my point still stands: the film was garbage, and that fact that I could tell this from only the first twenty minutes is further evidence of its garbagery.

Now I know at this point you’re all clambering to hear more about the two hours I spent alone with a Certain Reviewer, as for some bizarre reason, you’re all incredibly interested in our relationship built off pure loathing and irritation. Well, prepare yourselves readers, because a Certain Reviewer’s favorite filmmaker is not only Wes Anderson (!! There should be a limit to the amount of pastel on a screen at one point). But she also hasn’t read the best novel of all time, The Great Gatsby, and then told me that that ‘wasn’t that weird’ and asked me to ‘close my mouth’ because ‘its been two minutes’ and its ‘getting weird’.

However she did earn points back by liking Star Wars (if she hadn’t, I may have committed a crime worse than Cupboard Under the Stairs’ acting) and she also noted that Leonardo DiCaprio in Romeo + Juliet was her sexual awakening, and I to felt a deep attraction to DiCaprio and still do despite his insistence on growing a beard every few years. She laughed at this, but I think it was a laugh of agreement, so therefore it wasn’t bad.

Cupboard Under the Stairs was one of the worst atrocities committed to film, but a Certain Reviewer agreed that Han shooting first was an important part of his character, so all is not wrong with the world.

Text from James Potter to Sirius Black: do u think i look like leonardo dicaprio

Sirius Black: no

Sirius Black: is this bc evans said she liked him

James Potter: absolutely not

Text from James Potter to Remus Lupin: do i look like leo dicaprio

Remus Lupin: firstly, dont call him leo

Remus Lupin: and secondly, obvsly not

Remus Lupin: no two people have ever looked more different

James Potter: fuck u

Text from James Potter to Peter Pettigrew: do i look like leo dicaprio

Peter Pettigrew: no u look like u have a thing for evans

Peter Pettigrew: sirius told me to say that

Peter Pettigrew: whos evans

James Potter: do u not even read my fuckin column pete

Peter Pettigrew: it costs four pounds a week to subscribe to ur shitty paper i don’t have that kind of money

Godric’s Post                                                                                     3rd May 2009


The Godric’s own Sirius Black, gossip columnist extraordinaire, was sent to the Red Carpet premiere of A Streetcar Named the Knightbus and reported back to us on all the hot gossip and glamour of the night.

In what may have been my favorite red-carpet to date, not in the least because Rita Skeeter was thrown out for badgering guests only ten minutes in, but because the greatest thing in the world happened. It was so great in fact, that I managed to look past the colossal injustice of me not being invited to walk the carpet myself, which was clearly a mistake (the editor Remus J Lupin would like to clarify it was not) and have a roaring good night.

May I just clarify that by roaring good night I mean I got absolutely plastered (The editor wishes to state that The Godric does not promote drinking) so the night comes back to me in bits, and from what I can remember everyone looked great. I can’t remember what the film was about, or even if they let me in (editor: they did not.) but even if it wasn’t I’m sure the film was good too. (editor: it was average)

But as I mentioned above, the best thing in the world happened, and that was that The Godric’s very own film critic James Potter got to walk the red carpet. He will tell you this is because his insightful and poignant columns are finally getting the attention they deserve. Any sane person would then loudly talk over him and say the real reason is because he’s become rapidly more popular with the introduction of a Miss Lily Evans, also a film critic, into his weekly reviews. Or, as James calls her, A Certain Reviewer. (editor: for legal reasons the editor must assert that A Certain Reviewer could be any individual and to please not sue the paper for defamation.)

Turns out Miss Evans had a popularity boost as well, because she was also on the red carpet, looking ravishing in a backless teal ballgown, and honestly, readers, it was a sight to see Evans in that dress. Potter obviously thought so to, as he spent the entire night staring. And not subtle staring. Obvious, in-awe, I-can’t-believe-a-person-can-look this-good, staring.

Now, once I’d gotten over the fact that not once in our ten-year friendship had James ever given me that look, I was absolutely thrilled. I had a thirty pound bet going that they’d be together by May and I’d just won, if that look was any indication. (the editor: it was twenty pounds.)

Furthermore, Evans and Potter spent the entire night talking, not even noticing how the cameras had utterly latched on to them despite having no idea who they were, purely based on the looks they were giving each other. It was a sight to behold, seeing two utterly oblivious people in formalwear hold a conversation probably about the merits of dressing gowns (they talk about weird stuff like that) while what felt like the entire world took photos.

Now I’m aware I’m meant to be discussing the gossip and glamour from the whole night and not just two D-list celebrities who happen to both be my friends. But consider this: I do not care. These photos are modern art. Both so clearly have a crush on each other it’s embarrassing. Even Moony would have to agree (the editor: I do.). Anyway, in summary of the night: I bet everyone reading this that they’ll be screwing in a month. Mark my words.

[image: a man in a suit and a woman in a dress, against a while backdrop with A Street Car Named the Knightbus film logo printed across it. Her head is turned towards him, laughing, holding a delicate purse. He is looking at her, mouth parted, like she is the first girl he has ever seen. Something to be looked at just to make sure she didn’t disappear, blown by the wind, like in a dream. A dream girl- except not. A real girl, in a real dress, in a real place. He can’t quite believe it. A hundred camera flashes go in the background.]

Text from Sirius Black to James Potter: so whens the wedding

James Potter: i fuckin hate u

Sirius Black renamed the group james’ got the hots for evans

James Potter: this is cyber bullying

James Potter: im calling netsafe

Remus Lupin renamed the group netsafe cant help the fact that ur in love with evans

James Potter renamed the group stop now

Sirius Black renamed the group not a chance mate

Sirius Black created the Facebook Page Lily Evans and James Potter should get it on

This page received 17,798 likes.

Text from Lily Evans to Sirius Black: im going to fucking maim u. take it down.

Sirius Black: sent a link

Lily Evans: if that’s a link to the fucking page i will cut your balls off

Sirius Black: its not

Sirius Black: on an unrelated note do not click on that link it is a virus I just remembered

Remus Lupin created the Facebook Page Lily Evans and James Potter should get it on part two because lily made us delete the last one

This page received: 21,104 likes.

(don’t forget to check out ellie’s part here)

anonymous asked:

Who are some of your favorite female filmmakers and what works would you recommend by them?

Naomi Kawase: Suzaku, Shara, The Mourning Forest, Katatsumori.

Claire Denis: No Fear No Die, I Can’t Sleep, Beau Travail, 35 Shots of Rum, Chocolat.

Forough Farrokhzad: The House is Black.

Larisa Shepitko: The Ascent.

Barbara Loden: Wanda.

Maya Deren: Meshes of the Afternoon, Ritual in Transfigured Time, At Land.

Agnes Varda: Uncle Yanco, The Gleaners and I, The Beaches of Agnes, Le Bonheur.

Alice Guy: The Consequences of Feminism, The Birth, Life and Death of Christ.

Dee Rees: Pariah.

Chantal Akerman: Jeanne Dielman, News From Home, No Home Movie, Les Rendez-vous d'Anna, Toute une nuit.

Miwa Nishikawa: Wild Berries, The Long Excuse.

Ava DuVernay: Selma, 13th, Middle of Nowhere.

Tahmineh Milani: The Hidden Half.

Maren Ade: Toni Erdmann.

Kelly Reichardt: Meek’s Cutoff, Certain Women, Wendy and Lucy.

Haifaa Al-Mansour: Wadjda.

Vera Chytilova: Daisies, Fruit of Paradise.

Liv Ulmann: Faithless.

Samira Makhmalbaf: The Apple.

Cheryl Dunye: The Watermelon Woman.

Trinh T. Minh-ha: Reassemblage, The Fourth Dimension.

Julie Dash-Daughters of the Dust.

Catherine Breillat: Fat Girl, 36 Fillette.

Kinuyo Tanaka: Love Letter.

Sarah Maldoror: Sambizanga.

Jamie Babbit: But I’m a Cheerleader.

If anyone has any recommendations, please add them!

Richard Ayoade´s  Favorite Movies:

Persona (1966, dir. Ingmar Bergman)
Le Mépris (1963, dir. Jean-Luc Godard)
Raging Bull (1980, dir. Martin Scorsese)
Ordet (1955, dir. Carl Theodor Dreyer)
Barry Lyndon (1975, dir. Stanley Kubrick)
Crimes And Misdemeanors (1989, dir. Woody Allen)
The Apartment (1960, dir. Billy Wilder)
Tokyo Story (1953, dir. Yasujiro Ozu)
Make Way For Tomorrow (1937, dir. Leo McCarey)
Badlands (1973, dir. Terrence Malick)

I met Werner Herzog (German film director, producer, screenwriter) at the Egyptian Theater in Hollywood last month. A young aspiring filmmaker / student in the audience asked him for advice and Herzog just had one advice. Read. Just read.  That’s where you get your ideas, your inspiration. Every word that came out of his mouth was inspiration. 

I am constantly daydreaming.

I have always felt that, to a certain degree, cinema should encourage everyone to take their own dreams seriously and to have the courage to do what they really want to do, even if sometimes it ends in failure.


“My desire to make a film always starts with a personal event that leaves its mark on me and that I want to translate into images. I create fictions from very personal things… Before being a filmmaker, I am a human being, a person. It is as a human being that I approach my fictions.” Naomi Kawase

The Boy and the Beast just absolutely slayed me. My eyes were brimming with tears over and over again. I’m sorry, Miyazaki - I hold you in the same esteem today as I did yesterday, when you were my favorite filmmaker, something you’ve been to me for almost 20 years. But after Wolf Children, Summer Wars, The Girl Who Leapt Through Time, Digimon, and now, The Boy and the Beast, Mamoru Hosoda is the tops for me. There’s no one better.


Jiang Wen on different culture backgrounds in films



With all of the Oscar-buzz right now, I figured it was important that we take a moment to look at the marginalization of women in film, off-camera specifically, that has made no sign of improvement in the 86 years that the Academy Awards have existed. In fact, in 1947, 6% of winners were female. In 2011, the number was 7%. (Both percentages include acting awards).

And here we are in 2015. The first African American woman with a chance at a Best Director nominee. A year full of successful films shot by women (The Rover, The Skeleton Twins, Cake). But yet, unsurprisingly, each of the above listed categories are still limited to men this year. (Except Boyhood editor Sandra Adair). With almost nine decades behind us, and yet such little progress, it becomes difficult to believe that the glass ceiling for creative and talented women in this industry is even remotely penetrable.

Who is your favorite female filmmaker? (any and all disciplines welcome).

brwn-girl  asked:

what is your favorite quote by a filmmaker ?

@brwn-girl (hi again!)

My favorite quote is actually kind of a mini speech. I posted a link to a video by Ira Glass called The Gap when I first started this blog. It’s really inspiring for anyone who looks at their creative work and hates it. He says it so much better than if I were to paraphrase so give it a listen!


James McAvoy Interview: Cinema Teaser N°61 - Février 2017 (Google translate)

Thought this one was interesting so I google translate it. The rollerblades part was nice :)

Source: x

Have you built your performance by starting with the various personalities of Kevin or have you left Kevin?
I left Kevin. We must start at the source. Like you and me, he was born because his parents made love. On the other hand, his other personalities were born to accomplish a certain task. One of the celebrities speaks about this process: Dennis explains that Kevin was beaten by his mother when he did not put away his room and that he appeared to make sure everything was still in his place. I had to understand the role of each personality.

Was the physical also a starting point?
Yes. As soon as I read a script, I have ideas, I try things. Reading SPLIT, as soon as Patricia appeared, I lengthened my neck, took off my shoulders, I knew right away that I wanted to make a kind of English nun with repressed emotions, a naughty nun. (Laughter.) For Hedwig, I did not know how he would talk but from the start I had his energy. In fact, I wanted him to be on rollerblades. Night (Shyamalan, ed) found the idea brilliant but in the end, there were already enough things in the interpretation of this character without adding fucking rollers! Sometimes the body language comes to me first, sometimes the voice. Sometimes they arise together. To change his voice is to change the position of his throat and his mouth. If you change that, the body follows. All this helps to find a character.

On a performance that requires so many nuances and subtleties, are you afraid or want close-ups?
I love close-ups. If you do not know what you are doing in a scene, a close-up will reveal it because you have to go to something very pure. Night seems to think I’m a good actor. (Laughter.) And that I may be a better actor in close-up. I do not know if it’s true on every film but it may have been on SPLIT: for some reason I did not feel like I could really use the close-ups.

You hardly ever play with your Scottish accent. Is it frustrating or a good starting point to create a distance with a character?
I love being Scottish. I also like to take different accents, play characters that do not have much to do with me. I like the work of actor, its technical aspect and its instinctive part. I have fun with all this so it does not bother me to change my accent. Above all, I am very glad not to encamp that Scots, not to have been locked in roles that would have the same social background as me.

In TRANCE, ORDURE(FILTH) and SPLIT, you play psychopaths. Are these roles complementary or different?
They are different men but they all go through significant mental trials. They have identities locked in them, trying to emerge. They have a great disgust for themselves and seek, in one way or another, to take revenge on the world. These roles can be complementary in the sense that none of these three films has mental illness as their subject. They do not try to comment on mental health policies in the United Kingdom or the United States. These are entertainments that approach mental health in an artistic way.

These are three benefits made of excess. Would you say that’s what you like most?
Yes I think. But if these characters were excessive, it would amuse me less. In these three films, there are also great moments of intimacy, purity, intensity. What I like to do with the public is to take him to an excess of grotesque, then, in another scene, to an excess of compassion, then an excess of comedy or sadness. These three films try to achieve this. TRANCE, in particular, did everything to kiss the audience. (Laughter.) These films try to ‘return’ the viewers, to make them spend an exciting moment without being comfortable.
They defy the public. I like this.

You have never been the 'Scottish face’ of socio-realism …
No, that’s absolutely true! It’s a bit sad, is not it?

Do you regret it?
Yes ! Ken Loach is my favorite filmmaker. I come from the kind of neighborhoods that he films constantly. “But shit, I grew up in that street!” (Laughter.) He even turned my sister. (Joy McAvoy, in LA PART DES ANGES, ed.) She told him that I was his biggest fan but he had never heard of me. I would love to work with him.

Do you know why you imagine so little in socio-realistic films?
No doubt because I started playing characters that had nothing to do with what I am - I played distinguished people, the English, the Americans. The first four or five years of my career, people in the trade did not even know I was Scottish. I started by pretending to be someone else. I do not care, as long as I can do some interesting things.

What factors determine your choices? Whether a director is a young talent like WELCOME TO THE PUNCH or a legend like on TRANCE?
Most often, I just go to what I think is good for me. Towards what appears to be a fun experience. The reward for me is making a film. Not to look at him. Not that he made money. Not to have prices. The reward is to do. So I have to choose projects that look gratifying, exciting, challenges that will teach me things. I am privileged to be able to do so. One day I may not be lucky. The director is not necessarily what matters most to me. What counts is the story and the character. At the end of a day, a real 'will not cajole me so that I feel good. To feel good, I have to tell myself that I have done something that I think has value. But again, it’s a privilege. At the beginning of my career, I had no choice and in a sense, it was also great: you do not have the time to think, you accept what is proposed to you, you play a wide variety of characters And you learn enormously. When you have the opportunity to choose, you risk going to ease or constantly accepting the same role. So, I do not try to generate my material - even if I did it once or twice, as on ORDER. Generally, I would rather wait to see what happens on my desk. I let fate do.

In the past, you said that X-MEN had brought you financial comfort that allowed you to bet on riskier projects. You would have done SPLIT without this comfort?
Of course !

Is this a risky film?
Moui … Risky in the sense that it may not work. But even where will the evil be? If I make ten movies in a row that do not work, maybe I will not be able to work again. That said, I do not need to be a star or star in all movies. As long as I work and play interesting roles, no matter where in the world, on stage, on the big screen or on the radio, I’ll be happy. So, where is the risk? That no one likes what I do. But if I do not take these bets when I have the choice, I limit myself to 'go to work’. I once or twice had to make films for money or because I had been advised to work with a certain director. Every time, it was a disaster.

You have been working for twenty years, you have hindsight. It is said that our epoch is going through a crisis of creativity. Is it harder today to find good projects?
Yes I think. But I do not think I know all the reasons. I just feel that there is little space today. Night is lucky: he makes original films in genres that people want to see in theaters. There are many other filmmakers who do not get anywhere. At best, they realize their projects for tiny budgets. All the rest are franchises or movies from pre-existing licenses. It limits creativity. Afterwards, I say that but I am in one of these franchises - I love this kind of movies since I was a kid! I am just sad that there is only that now being produced. So I’m glad that Night can continue to work. 

Source: x

I was cleaning out my drafts and found this old meme! Way back when I was tagged by the lovely @lyrangalia

List 6 movies that you can watch anytime and tag 6 people!

The Fall
This movie is one that I can watch over and over again. The world is rich and beautiful, the changes in the story from the perception of Alexandria are seamlessly incorporated, and the depth of emotion is flooring every time. Also Lee Pace in eyeliner.

Howl’s Moving Castle
This is the movie I go to when I’m overwhelmed in any way. The costumes, the characters, Sophie learning to love herself, all of it helps soothe me. Plus I relate to Howl on many levels.

Pan’s Labyrinth
I’m a sucker for fairy tales that have dark twists. Guillermo del Toro is one of my favorite directors and I could probably fill half of this lift with his movies. Pan’s Labyrinth strikes a special chord with me because of the color usage throughout the movie and the emotions that they evoke.

Gosh, where do I even start? A story by one of my favorite authors, that challenges masculinity, that takes the hero’s journey and involves a cast of powerful women, and a bunch of zany deaths? Sign me right the fuck up. Also the love story is pretty great, too.

Princess Arete
This is the princess movie I wish I would have had growing up. This young woman deals with a barrage of suitors, a curse, and an evil wizard! Outside of Arete’s harrowing journey there is another woman who spends the movie working to subvert the wizard’s rule over her people.

Marco Caro and Jean-Pierre Jeunet are one of my favorite pairs in filmmaking, and Delicatessen is a film I could watch endlessly and never get bored with. The way the world is constructed and the stories revolving around the tenants, even those who aren’t the main focus, make for an immersive film that never fails to delight me.

And I tag anyone who wants to do this!