1. rcjohnso:

    William Gaddis, 1986

  2. wandrlust:

    Stardust Memories — dir. Woody Allen

    Cinematography by Gordon Willis

    (Source: strangewood)

  3. lightthebackgroundfirst:

    Gordon Willis, as seen in Cinematographer Style (Jon Fauer, 2006).

    (via togetyoung)


  6. "Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit - all of these will be cherished and emulated as soon as they can be avoided. It’s the sound of failure: so much modern art is the sound of things going out of control, of a medium pushing to its limits and breaking apart. The distorted guitar sound is the sound of something too loud for the medium supposed to carry it. The blues singer with the cracked voice is the sound of an emotional cry too powerful for the throat that releases it. The excitement of grainy film, of bleached-out black and white, is the excitement of witnessing events too momentous for the medium assigned to record them."

    — Brian Eno, A Year With Swollen Appendices (via holyfuckingshittt)

    Why the sound of failure is beautiful.

    (via zadi)

    (Source: sincerely-rebekah, via kmgrace)

  7. justin:

    Huge news. Get a first look at @erikwbeck and my first feature - an inspiring documentary about an ultra-DIY filmmaker in Kansas: Http://kck.st/1cVf2LK

  8. cinephilearchive:

    On the Trail of the Iguana — John Huston’s behind-the-scenes look at the making of Tennessee Williams’ The Night of the Iguana in 1964. [thanks to Ben Volchok]

    “The directing of a film, to me, is simply an extension of the process of writing. It’s the process of rendering the thing you have written. You’re still writing when you’re directing. Of course you’re not composing words, but a gesture, the way you make somebody raise his eyes or shake his head is also writing for films. Nor can I answer precisely what the relative importance, to me, of the various aspects of filmmaking is, I mean, whether I pay more attention to writing, directing, editing, or what—have—you.”

    “The most important element to me is always the idea that I’m trying to express, and everything technical is only a method to make the idea into clear form. I’m always working on the idea: whether I am writing, directing, choosing music or cutting. Everything must revert back to the idea; when it gets away from the idea it becomes a labyrinth of rococo.”

    “Occasionally one tends to forget the idea, but I have always had reason to regret this whenever it happened. Sometimes you fall in love with a shot, for example. Maybe it is a tour de force as a shot. This is one of the great dangers of directing: to let the camera take over. Audiences very often do not understand this danger, and it is not unusual that camerawork is appreciated in cases where it really has no business in the film, simply because it is decorative or in itself exhibitionistic.”

    “I would say that there are maybe half a dozen directors who really know their camera—how to move their camera. It’s a pity that critics often do not appreciate this. On the other hand I think it’s OK that audiences should not be aware of this. In fact, when the camera is in motion, in the best-directed scenes, the audiences should not be aware of what the camera is doing. They should be following the action and the road of the idea so closely, that they shouldn’t be aware of what’s going on technically.” —How I Make Films: Interview with John Huston, Film Quarterly, Fall 1965

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    (via fiftyfortyninety)

  9. newyorker:

    More than ninety per cent of cinema screens in the U.S. have converted from film to digital projectors. What does the costly conversion mean for independent theaters? In this video, industry professionals weigh in: http://nyr.kr/JK3ItX

    (Source: newyorker.com)

  10. Manhattan (1979), dir. Woody Allen | Chapter One. “He adored New York City. He idolized it all out of proportion.” Uh, no, make that: “He romanticized it all out of proportion. To him, no matter what the season was, this was still a town that existed in black-and-white and pulsated to the great tunes of George Gershwin. […] New York was his town, and it always would be.”

    (Source: nobodyreallywantsus, via togetyoung)