A Quote by Wim Wenders
To evoke the classic period of Italian cinema in a little film seemed like a great, fun thing to do. I had relations to that period. I had known Fellini and I had known Antonioni. I had made a movie with Antonioni and I had visited Fellini in his studios. So, it seemed like something worthwhile doing. You bring yourself to that mythical cinema.
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There were times when it appeared to Dorian Gray that the whole of history was merely the record of his own life, not as he had lived it in act and circumstand, but as his imagination had created it for him, as it had been in his brain and in his passions. He felt that he had known them all, those strange terrible figures that had passed across the stage of the world and made sin so marvellous, and evil so full of subtlety. It seemed to him that in some mysterious way their lives had been his own.
I think the advantage we had with "MacGruber" is the speed we had to put it together. We had a such a short period to write the movie and such a post-[production] period, it was almost like the way that the show worked, where everything is happening so fast you have to go with your gut.
It meant that Diana had not waited for any explanation, however halting and imperfect, but had condemned him unheard; and this showed a much harder, far less affectionate woman than the Diana he had known or had thought he knew - a mythical person, no doubt created by himself. It had of course been evident from her letter, which made no reference to his; but he had not chosen to see the evidence and now it was absolutely forced upon his sight it made his eyes sting and tingle again. And deprived of his myth he felt extraordinarily lonely.
He was full of the restless, dissatisfied energy that always seemed to move into his heart after he visited home these days. It had something to do with the knowledge that his parents’ house wasn’t truly home anymore — if it had ever been — and something to do with the realization that they hadn’t changed; he had.
I remember how, at first, I had felt the tension in his lips, as if he was trying to make a barrier between us - then they had relaxed, parted slightly. And that's when I had known he wanted to kiss me, wanted to give in. That little parting of the lips, the little sigh that came out... I would hear that sigh forever. That little, little sound when the whole world seemed to open up.
"If it wasn’t for the mist we could see your home across the bay," said Gatsby. "You always have a green light that burns at the end of your dock." Daisy put her arm through his abruptly but he seemed absorbed in what he had just said. Possibly it had occurred to him that the colossal significance of that light had now vanished forever. Compared to the great distance that had separated him from Daisy it had seemed very near to him, almost touching her. It had seemed as close as a star to the moon. Now it was again a green light on a dock. His count of enchanted things had diminished by one.
Fellini, Kurosawa, and Bunuel move in the same field as Tarkovsky. Antonioni was on his way, but expired, suffocated by his own tediousness.
You could not imitate Fellini. His beauty was above anything else, but that intelligence was typically Italian. This helped me to realise that I had to create something that was distinctively Japanese.
I had seen faces in photographs I might have found beautiful had I known even vaguely in what beauty was supposed to consist. And my father's face, on his death-bolster, had seemed to hint at some form of aesthetics relevant to man. But the faces of the living, all grimace and flush, can they be described as objects?
I met Michael Snow and Stan Brakhage the second day after I arrived, you know. I had never seen or heard of Brakhage. For me, it was a revolution, because I was well educated in film, but American-style experimental film was known to me in the abstract, and I had seen practically nothing. I had seen a film then that Noël Burch had found and was distributing called Echoes of Silence. It was a beautiful film, three hours long. It goes forever and it was in black and white, very grainy, and I saw that film and I thought...it was not New Wave. It was really a new concept of cinema.
I just like cars, period. I can find something to like about pretty much any car. I've had as much fun whipping around Italy in a little Mini Cooper as I've had whipping through Miami in a Bentley GT.
To be honest, I don't feel like I am able to say that I had a childhood, not in a way normal kids my age had. I had something that was specific to Bosnia in '90s, something I call a period of survival.
That initial anger she had felt turned to sadness, and now it had become something else, almost a dullness of sorts. Even though she was constantly in motion, it seemed as if nothing special ever happened to her anymore. Each day seemed exactly like the last, and she had trouble differentiating among them.
About 1911 I had the idea of making for my son, who had just been born, a blanket composed of bits of fabric like those I had seen in the houses of Russian peasants. When it was finished, the arrangement of the pieces of material seemed to me to evoke cubist conceptions and we then tried to apply the same process to other objects and paintings.
What I'm really trying to do is recreate classic Hollywood cinema and classic genre cinema from a woman's point of view. Because most cinema is really made for men, how can you create cinema that's for women without having it be relegated to a ghetto of "chick flick" or something like that?
He was about to go home, about to return to the place where he had had a family. It was in Godric’s Hollow that, but for Voldemort, he would have grown up and spent every school holiday. He could have invited friends to his house. . . . He might even have had brothers and sisters. . . . It would have been his mother who had made his seventeenth birthday cake. The life he had lost had hardly ever seemed so real to him as at this moment, when he knew he was about to see the place where it had been taken from him.
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