Rima Das :” I had no option but to do everything on my own. I had run out of money”

You’ve been called a one-woman army. Why did you decide to do it all on your own?

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Rima Das : I had no option but to do everything on my own. I had run out of money while making Antardrishti: Man With The Binoculars, my first feature film. So, when I started filming Village Rockstars I didn’t have the money to engage professionals. Besides, VR is a story about children, by children. This was a tough project. Working with non-actors, especially children who have never acted before, I knew I would need to spend time with them, feel their energy and conduct extensive workshops. This meant I couldn’t have a tight schedule in place. If I had engaged professionals, I would have naturally had to limit this exploration within a time frame and that would mean compromising on many aspects. The story began to develop as I started shooting, therefore I guess I needed the flexibility and freedom.

Source : http://www.vervemagazine.in/people/boss-lady-rima-das-on-village-rockstars-and-why-realism-is-intrinsic-to-good-cinema

Mohsen Makhmalbaf: “We have only one life, but each film gives us another life”

Some have said that these changes – the high-rise buildings, the crowd – have stifled creativity.

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Mohsen Makhmalbaf:
You could have your story. It doesn’t matter — high buildings or low buildings, empty city or crowded city. You can create your story, you can share your story, and through it we can understand your condition.

We have only one life, but each film gives us another life. Watching films and reading novels, they give eternality to the audience. So it’s very important to see different kinds of films, from different nations. Because many of Hollywood films are the same, they have no diversity.

Source : https://www.buro247.sg/culture/insiders/interview-with-mohsen-makhmalbaf-singapore.html

Pedro Almodovor: “I have no real interest in films that have to do with superheroes and sequels, prequels, reboots…”

What do you think about the state of Hollywood movies?

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Almodovor: It’s very difficult for me to go to the theater and find movies that I love — much more difficult than before. Maybe I’m getting old. Either that or I find it more difficult for a story to surprise me. I think that film right now is worse than it used to be. For example, I don’t think that you see the kinds of films you saw in the ’60s or the ’70s.

I have no real interest in films that have to do with superheroes and sequels, prequels, reboots — all this kind of business. Ironically, on some level, the fact that movies are so technically proficient works against them. I used to be interested in the adventure film or any chase film before the effects were so perfect. The digital, the synthetic aspect of the image, has taken some of that away from me. There was a sense of danger that was exciting.

Source : https://variety.com/2016/film/news/pedro-almodovar-interview-julieta-director-1201941446/

Philip Roth:”Fluency can be a sign that nothing is happening”

INTERVIEWER

How much of a book is in your mind before you start?

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What matters most isn’t there at all. I don’t mean the solutions to problems, I mean the problems themselves. You’re looking, as you begin, for what’s going to resist you. You’re looking for trouble. Sometimes in the beginning uncertainty arises not because the writing is difficult, but because it isn’t difficult enough. Fluency can be a sign that nothing is happening; fluency can actually be my signal to stop, while being in the dark from sentence to sentence is what convinces me to go on.

Source : https://www.theparisreview.org/interviews/2957/philip-roth-the-art-of-fiction-no-84-philip-roth

Ed Catmull:”Fear is built into our nature”

The Quarterly: It sounds as though you think a lot about fear and how to counteract its corrosive effects.

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Ed Catmull: Fear is built into our nature; we want to succeed and we respond physiologically to threats—both to real threats and to imagined threats. If people come into an organization like ours and they’re welcomed in, what’s the threat? Well, from their point of view, they’re thinking, “this is a high-functioning environment. Am I going to fit in? Am I going to look bad? Will I screw up?” It’s natural to think this way, but it makes people cautious.

When you go to work for a company, they tell you something about the values of the company and how open they are. But it’s just words. You take your actual cues from what you see. That’s just the way we’re wired. Most people don’t talk explicitly about it, because they don’t want to appear obtuse or out of place. So they’ll sometimes misinterpret what they see. For example, when we were building Pixar, the people at the time played a lot of practical jokes on each other, and they loved that. They think it’s awesome when there are practical jokes and people do things that are wild and crazy.

Now, it’s 20 years later. They’ve got kids; they go home after work. But they still love the practical jokes. When new people come in, they may hear stories about the old days, but they don’t see as much clowning around. So if they were to do it, they might feel out of line. Without anyone saying anything, just based on what they see, they would be less likely to do those things.

Meanwhile, the older people are saying, “what’s wrong with these new people? They’re not like we were. They’re not doing any of this fun stuff.” Without intending to, the culture slowly shifts. How do you keep the shift from happening? I can’t go out and say, “OK, we’re going to organize some wild and crazy activities.” Top-down organizing of spontaneous activities isn’t a good idea. Don’t get me wrong—we still have a lot of pretty crazy things going on, but we are trying to be aware of the unspoken fears that make people overly cautious. If you’re just measuring yourself by your outward success, then you’re missing a huge part of what drives people.

 

Source : https://www.mckinsey.com/business-functions/organization/our-insights/staying-one-step-ahead-at-pixar-an-interview-with-ed-catmull

Piotr Anderszewski:”there is no such thing as a good piano in the absolute sense”

Do you not find this paradoxical, in a world which is becoming more and more standardized?

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Piotr Anderszewski: It’s less standardized than you think. At the end of the day, I think I would prefer pianos to be identical everywhere (although I’m sure that would actually make me crazy!). Before, there were more piano makers on the market, and their instruments had more unique traits. Today, if Fazioli tries to gain ground, for example, it’s faced with a quasi-monopoly by Steinway on the concert circuit. But Steinway remains a house of high fashion, which makes hand-sewn products: every one of their pianos has its own personality. The tuning, maintenance, storage, the general state of the piano makes each one different – a Steinway from Hamburg is different from one from London, New York, or Tokyo. That said, I hate nothing more than talking with technicians who come to ask you if you want a piano with a ringing sound or a more muffled one, rich or brassy, heavy or light action. That doesn’t make any sense! I want it to ring and be muffled, I want brassy and rich, I want heavy and light! The worst is when a technician assures you that, if you don’t like the regulation, they can “have it all fixed in 5 minutes” – nothing is impossible, they can change everything – in 5 minutes! That makes me scratch my head. I prefer technicians who tell me outright, “You’re looking for something that this piano cannot do.”

The same thing goes for sound engineers: we don’t speak the same language. I just express my point of view (the idea being of course that I be able to recognize my playing), but this kind of conversation seems rather vain to me. I don’t understand anything, really nothing at all, regarding the changes they say they have made on the tracks. For me, in any case, it’s just as bad as it was when they started! I don’t know a thing about all this business of spacing, placing, positioning mikes. I’m not an expert in instrumental mechanics. Is that wrong? Should I be more like my compatriot Krystian Zimerman? Whatever the case, there is no such thing as a good piano in the absolute sense: you always have to account for the space around it that you have to fill with sound. That’s why I don’t think traveling with my own piano would solve anything. At times, I’ve chosen a piano to record an album in a warehouse or in a backstage room, then once the piano is in the recording studio, I think there’s been a mistake: I’ll check, realize that the serial numbers are the same, but nonetheless I don’t recognize it any more, not the touch nor the sound.

Source : http://www.iplaythepiano.com/piano-mag/piotr-anderszewski-interview.html

Bruce Lee:”To me, ultimately, martial art means honestly expressing yourself.”

Q: It’s interesting, we don’t in our world, and haven’t since the days of the Greeks who did, combined philosophy and art with sport. But quite clearly the oriental attitude is that the three are facets of the same thing.

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Bruce Lee: Man, listen to me, ok? To me, ultimately, martial art means honestly expressing yourself. Now it is very difficult to do. I mean it is easy for me to put on a show and be cocky and be flooded with a cocky feeling and then feel, then, like pretty cool and all that. Or I can make all kinds of phony things, you see what I mean? And be blinded by it. Or I can show you some really fancy movement, but, to express oneself honestly, not lying to oneself….and to express myself honestly, that, my friend is very hard to do. And you have to train. You have to keep your reflexes so that when you want it…it’s there! When you want to move, you are moving and when you move you are determined to move. Not taking one inch, not anything less than that! If I want to punch, I’m going to do it man, and I’m going to do it! So that is the type of thing you gave to train yourself into it; to become one with it. You think….(snaps his fingers) ….it is.

Source : http://www.theattractionforums.com/showthread.php?t=65203