Confortably Numb


cinecat:

Adrien Brody and Roman Polanski on the set of The Pianist (2002)

cinecat:

Adrien Brody and Roman Polanski on the set of The Pianist (2002)

— 1 hour ago with 354 notes
mubiblog:

The official poster for the 71st Venice Film Festival

mubiblog:

The official poster for the 71st Venice Film Festival

— 3 weeks ago with 43 notes

Marlon Brando and Francis Ford Coppola during the filming of ’The Godfather’ (1972)

(Source: mabellonghetti, via andreii-tarkovsky)

— 1 month ago with 118 notes
Luis Buñuel & Catherine in the set of Belle de Jour

Luis Buñuel & Catherine in the set of Belle de Jour

(Source: denizgork96, via andreii-tarkovsky)

— 1 month ago with 340 notes
alpinemastiff:

Billy Wilder and Michelangelo Antonioni at the Cannes Film Festival, 1982

alpinemastiff:

Billy Wilder and Michelangelo Antonioni at the Cannes Film Festival, 1982

(Source: jazz-99.livejournal.com, via keyframedaily)

— 2 months ago with 198 notes

Robert De Niro, Martin Scorsese, and Joe Pesci on the set of Casino, 1995

(Source: leonardodicrapio, via leonardodicrapio)

— 2 months ago with 1393 notes

Andrei Tarkovsky"And is Chaplin—comedy? No: he is Chaplin, pure and simple; a unique phenomenon, never to be repeated. He is unadulterated hyperbole; but above all he stuns us at every moment of his screen existence with the truth of his hero’s behavior. In the most absurd situation Chaplin is completely natural; and that is why he is funny."
Buster Keaton"At his best, and Chaplin remained at his best for a long time, he was the greatest comedian that ever lived."
François Truffaut"My religion is cinema. I believe in Charlie Chaplin…"
Jean-Luc Godard"He is beyond praise because he is the greatest of all. What else can one say? The only filmmaker, anyway, to whom one can apply without misunderstanding that very misleading adjective, ‘humane’… Today one says Chaplin as one says Da Vinci—or rather Charlie, like Leonardo."
Jean Renoir"The master of masters, the filmmaker of filmmakers, for me is still Charlie Chaplin. He has done everything in his films—script, direction, setting, production, performance and even the music… His films are not only examples of perfect unity, but all his work is one. One may say indeed of Chaplin that he has made only one film and that every facet of that film is a different enactment of the same profession of faith."
Jiri Menzel"All Chaplin’s early films assured me that the comedy can say in a grotesque way much more about people’s characters than serious films, which after a certain time fade away and became ridiculous. Good comedy is immortal."
Luis Buñuel"When I was young, the idea of an orgy was tremendously exciting. Charlie Chaplin once organized one in Hollywood for me and two Spanish friends, but when the three ravishing young women arrived from Pasadena, they immediately got into a tremendous argument over which one was going to get Chaplin, and in the end all three left in a huff."
Masaki Kobayashi"Last year I went to the Cannes Film Festival and met Charles Chaplin. They showed his works. I was deeply impressed by his greatness. His films, his methods and content, are modern and so contemporary; he is a great genius."
Ousmane Sembène"[Did other filmmakers teach you anything?] There was one, an old man whom I had the fortune to meet very old, Charlie Chaplin; he told me that everyone could do this job, but that it is very demanding… He was the only guy who you couldn’t see in bars, nightclubs, or at receptions. He told me one had to stay at home and work…”
Pier Paolo Pasolini"You can always feel underneath my love for Dreyer, Mizoguchi and Chaplin… I feel this mythic epicness in both Dreyer and Mizoguchi and Chaplin: all three see things from a point of view which is absolute, essential and in a certain way holy, reverential."
Satyajit Ray"If there is any name which can be said to symbolize cinema—it is Charlie Chaplin… I am sure Chaplin’s name will survive even if the cinema ceases to exist as a medium of artistic expression. Chaplin is truly immortal."
Stanley Kubrick"If something is really happening on the screen, it isn’t crucial how it’s shot. Chaplin had such a simple cinematic style that it was almost like I Love Lucy, but you were always hypnotized by what was going on, unaware of the essentially non-cinematic style. He frequently used cheap sets, routine lighting and so forth, but he made great films. His films will probably last longer than anyone else’s.”
Vittorio De Sica"Truly good films—like Chaplin’s—should stimulate as well as soothe, should appeal to the mind as well as to the senses, should kindle thought as well as the emotions."

Andrei Tarkovsky
"And is Chaplin—comedy? No: he is Chaplin, pure and simple; a unique phenomenon, never to be repeated. He is unadulterated hyperbole; but above all he stuns us at every moment of his screen existence with the truth of his hero’s behavior. In the most absurd situation Chaplin is completely natural; and that is why he is funny."

Buster Keaton
"At his best, and Chaplin remained at his best for a long time, he was the greatest comedian that ever lived."

François Truffaut
"My religion is cinema. I believe in Charlie Chaplin…"

Jean-Luc Godard
"He is beyond praise because he is the greatest of all. What else can one say? The only filmmaker, anyway, to whom one can apply without misunderstanding that very misleading adjective, ‘humane’… Today one says Chaplin as one says Da Vinci—or rather Charlie, like Leonardo."

Jean Renoir
"The master of masters, the filmmaker of filmmakers, for me is still Charlie Chaplin. He has done everything in his films—script, direction, setting, production, performance and even the music… His films are not only examples of perfect unity, but all his work is one. One may say indeed of Chaplin that he has made only one film and that every facet of that film is a different enactment of the same profession of faith."

Jiri Menzel
"All Chaplin’s early films assured me that the comedy can say in a grotesque way much more about people’s characters than serious films, which after a certain time fade away and became ridiculous. Good comedy is immortal."

Luis Buñuel
"When I was young, the idea of an orgy was tremendously exciting. Charlie Chaplin once organized one in Hollywood for me and two Spanish friends, but when the three ravishing young women arrived from Pasadena, they immediately got into a tremendous argument over which one was going to get Chaplin, and in the end all three left in a huff."

Masaki Kobayashi
"Last year I went to the Cannes Film Festival and met Charles Chaplin. They showed his works. I was deeply impressed by his greatness. His films, his methods and content, are modern and so contemporary; he is a great genius."

Ousmane Sembène
"[Did other filmmakers teach you anything?] There was one, an old man whom I had the fortune to meet very old, Charlie Chaplin; he told me that everyone could do this job, but that it is very demanding… He was the only guy who you couldn’t see in bars, nightclubs, or at receptions. He told me one had to stay at home and work…”

Pier Paolo Pasolini
"You can always feel underneath my love for Dreyer, Mizoguchi and Chaplin… I feel this mythic epicness in both Dreyer and Mizoguchi and Chaplin: all three see things from a point of view which is absolute, essential and in a certain way holy, reverential."

Satyajit Ray
"If there is any name which can be said to symbolize cinema—it is Charlie Chaplin… I am sure Chaplin’s name will survive even if the cinema ceases to exist as a medium of artistic expression. Chaplin is truly immortal."

Stanley Kubrick
"If something is really happening on the screen, it isn’t crucial how it’s shot. Chaplin had such a simple cinematic style that it was almost like I Love Lucy, but you were always hypnotized by what was going on, unaware of the essentially non-cinematic style. He frequently used cheap sets, routine lighting and so forth, but he made great films. His films will probably last longer than anyone else’s.”

Vittorio De Sica
"Truly good films—like Chaplin’s—should stimulate as well as soothe, should appeal to the mind as well as to the senses, should kindle thought as well as the emotions."

(Source: strangewood)

— 3 months ago with 1976 notes

cinephilearchive:

It’s said that a movie is made three times: once through a script, once on set, and finally in the edit room. Join Tribeca Talks Industry: The Cutting Room — An Insight To The Edit Suite to hear tales from the cutting room floor from longtime Martin Scorsese collaborator Thelma Schoonmaker as she discusses her incredible career. [WNYC]

Additionally, here’s a transcription of some of the highlights, courtasy of Indiewire:

ON SCORSESE AND MICHAEL POWELL: Schoonmaker touched upon the friendship her late husband forged with Scorsese before the making of ‘Raging Bull.’ “Michael described Scorsese finding Powell living in obscurity and pummeling him with fast-talking questions about the Powell and Pressburger films, and Michael says in his autobiography, ‘After all those years of oblivion, the blood started started to run in my veins again.’”

ON POWELL’S INFLUENCE ON ‘RAGING BULL’: One particular Powell and Pressburger film, ‘The Life and Death of Colonel Blimp,’ greatly influenced ‘Raging Bull.’ “De Niro was fascinated by the film and how convincing the weight gain was, and pummeled Michael Powell with questions of how he did it.” Powell used make-up and doubles with actor Roger Livesay, but “this was not the kind of thing that De Niro would ever agree to,” no matter how much Powell objected to De Niro gaining weight.

ON THE SERENDIPITOUS USE OF FLASHBULBS: Scorsese and company spent $90,000 on flashbulbs during the making of ‘Raging Bull,’ and the encouragement of the actors playing photographers to constantly take pictures gave the production great moments. “We got lucky with the flashbulbs on De Niro’s face and on the shot of Reeves falling. You put those two shots together, you get a nice edit. This isn’t planned, but you take advantage of these kinds of things.”

ON THE WORK OF SOUND EDITOR FRANK WARNER: Warner was a “congenial Midwesterner” with a habit of saying things like “okey dokey,” but Schoonmaker described his “mind of a genius.” “Frank would create a different sound for each punch in this movie, and there are a lot of them, and audition various ones… we never got him to tell us how he made those punches, but they were perfect.”

ON WARNER’S PERFECTIONISM: Warner would burn all of his sound effects when he finished a movie. “Not because he was afraid that someone else would use them, but because he didn’t want to use them himself. He wanted to approach each film with a completely open mind.”

ON SCORSESE’S USE OF SLOW MOTION: Schoonmaker spoke of Scorsese’s use of slow motion to show LaMotta’s obsessive, hateful attitude towards the mafia. “We put normal sync sound in the mouth of Frank Vincent. Even if it doesn’t fit, we liked the effect of it being slightly off.”

ON THE LAMOTTA HOME MOVIES: “We degraded the image optically and desaturated the color as if it was fading with time passing. Marty personally went into the negative cutting room with a hanger and scratched the negative. I thought the negative cutter was going to have a heart attack.”

ON A PROJECTIONIST’S SCREW-UP: Aside from the red opening titles, the only color in ‘Raging Bull’ comes from the LaMottas’ home movies. One projectionist didn’t take note of Scorsese and Schoonmaker’s careful work. “Once, when I was checking out theaters during the first run of ‘Raging Bull,’ I came across a projectionist spooling footage from the movie onto the floor of his booth. Horrified, I asked him what he was doing, and he said, ‘Someone made a mistake at the lab and spliced color footage into this movie. It’s supposed to black-and-white, and I’m taking it out.’ That’s why we call the projectionist ‘the final editor.’”

ON ONE OF THE TOUGHEST SCENES SCHOONMAKER EVER WORKED ON: Scorsese usually uses two cameras for improv scenes between actors, but a scene involving Jake and Joey arguing about losing weight in the kitchen made this impossible due to the small space. “It took almost a month for me to wrangle the footage into shape… and it was extremely hot and the babies kept crying.” Schoonmaker also showed a funny outtake in which Pesci and De Niro try to keep their concentration and keep the babies from fidgeting or crying, with great difficulty.

ON THE BRUTAL IMAGES IN THE FILM’S FINAL FIGHT: Images of the bloodstained sponge and rope in the final fight were taken from a real match De Niro took Scorsese to. “I’ll apologize to you for the brutality of this scene, but it was part of the point of making the movie.” Then, an aside: “Boxing is insane, and in my opinion should be banned.”

ON A DISAGREEMENT WITH SCORSESE: Scorsese and De Niro did a number of terrific takes on the final speech in the film, but Schoonmaker and Scorsese disagreed on which was the best. “Scorsese and I rarely disagree, but I preferred a warmer take from De Niro. But Scorsese said he thought Jake had to be very cold when he confronts himself. So we screened it two ways, and Marty was right.”

For more, see our archive under the tag, “Raging Bull.”

— 3 months ago with 123 notes

list of my favorite actors & actresses » Al Pacino

"Did you know I started out as a stand-up comic? People don`t believe me when I tell them."

(via alpacinofans)

— 3 months ago with 1473 notes