Rober Bresson:”Money is becoming people’s God. God doesn’t exist anymore for many”

Stéphane told me that your new film was going to be about a young man that kills himself-no, that arranges for his own death by protest. And I replied, I find it very hard to believe that any character in a film by Bresson would kill himself for anything other than internal reasons.

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Rober Bresson: You know, there are young people who kill themselves for this same reason that he does in my film. I think in the whole world things are going very badly. People are becoming more and more materialistic and cruel, but cruel in another way than in the middle ages. Cruel by laziness, by indifference, egotism, because they think only about themselves and not at all about what is happening around them, so that they let everything grow ugly, stupid. They are all interested in money only. Money is becoming their God. God doesn’t exist anymore for many. Money is becoming something you must live for. You know, even your astronauts, the first one who put his foot on the moon, said that when he first saw our earth, he said it is something so miraculous, so marvelous, don’t spoil it, don’t touch it. More deeply I feel the rotten way they are spoiling the earth. All the countries. Silence doesn’t exist anymore; you can’t find it. That, for me, would make it impossible to live. The way this young person wants to die — he doesn’t kill himself, himself—he makes himself be killed. The old Robin Hood people used to commit suicide with the help of friends. He kills himself for a big purpose.

source:   https://scrapsfromtheloft.com/2017/06/03/robert-bresson-possibly-interview-paul-schrader-1976/

 

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/

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

Paolo Sorrentino: “Success didn’t change me”

Have you been changed by having so much success?

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Paolo Sorrentino: Success didn’t change me, and I have never made big changes in my life. I am married to the same wife and I live in the same house.  I am a self-contained person and I read very little of whatever it is they write about me.  I have the same life that I had 20 years ago, and that’s a very good way to put boundaries on temptations. I didn’t change my life, and I still have the same dream that I had as an adolescent: “To Make a Film.” When I was a young man I was afraid that my dream could not be realised. Now I know that I can realise it, and this gives me the necessary serenity to write a novel or make a film.

Source : http://alainelkanninterviews.com/paolo-sorrentino/

Quentin Tarantino:”Carbon copies give me headaches”

Q: How do you answer critics who think that your generation, with Tim Burton, the Coen brothers, or even an older person like David Lynch is just mak­ing borrowed, post-modern, self-reflexive art with no connection to reality, just a kind of formalist game?

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Quentin Tarantino: I’m never bothered that people say I don’t make films “from life” and that I have “nothing to say.” I don’t try to say anything but to create char­acters and to tell stories out of which meaning can appear. What’s more, I think I make films about life since I make films about me, about what interests me.

The only artistic training I had was as an actor. An actor has a very dif­ferent aesthetic conception from a director or a writer. He uses what works. Without betraying the truth of my style, my rhythm or voice, when I saw something I liked in Marlon Brando or Michael Caine, I’d use it in my own acting. Actors work like this: they steal from others and make it part of themselves.

I don’t consider myself just as a director, but as a movie man who has the whole treasure of the movies to choose from and can take whatever gems I like, twist them around, give them new form, bring things together that have never been matched up before. But that should never become referential to the point of stopping the movement of the film. My first concern is to tell a story that will be dramatically captivating. What counts is that the story works and that viewers will be caught up in my film. Then movie buffs can find additional pleasure in getting whatever allusions there are.

But I never try for an exact copy or a precise quote or a specific refer­ence. Carbon copies give me headaches. I like mixing things up: for example that golden watch story begins in the spirit of Body and Soul and then unexpectedly ends up in the climate of Deliverance. What I most enjoy are space-time distortions, jumps from one world to another. You don’t need to know the two films to appreciate the story of the watch, but if you know them it’s even more surprising and fun.

Sometimes I have an idea for a film which I carry around in my head for five or six years, without writing the scenario, since the right moment hasn’t hit. But when I sit down to write, everything that’s going on in my personal life finds a place in the film. When I’ve finished a scenario, I’m always astonished by what it reveals about me. It’s as if I were disclosing a bunch of personal secrets, even though people don’t notice, and I don’t really care if they notice or not!

Again, if an actor is driving to the theater or to a film set and hits a dog, like Irene Jacob did in Red, well, it’s going to affect the acting, no matter how well the scene has been prepared. What happened is going to show up on stage or on the screen. Anyone able to keep strictly to what had been planned isn’t really creative. At least that’s how I think about my work. Whatever happens to me, even if it’s completely unrelated to the subject I’m doing, will find its way into the scenes I’m shooting, because I want my characters’ hearts to really beat.

If you really knew me, you would be surprised by how much my films talk about me.

Source : http://scrapsfromtheloft.com/2016/05/20/tarantino-interview-cannes-1994/