Poslednji film koji ste (ponovo) gledali

beatakeshi wrote:Gledam Đan Marija Volontea kod Leonea - Rade Šerbedžija za bogate.

Quincy Endicott wrote:Neki dan sam ponovo odgledao Life Aquatic i ko ne voli Wesa Andersona ne treba da živi.

When you see Le Pont du Nord, to take one of Rivette’s most beautiful films, there isn’t a single shot in the film that could sell anything: that could sell the actress who plays in it, the quality of the sun. Nothing, because it’s used for something else, it’s used for building what: for building time. I was very, very liberated, very, very personally liberated, the day I realized that what I had expected from cinema, what I had loved in cinema, and what cinema had given, was the invention of time, starting with mine. Inventing a time in which I might live, but which is also somebody else’s time, and not the image, very much. In fact, I’m not very good with images. For example, the thing I see last in a film is the Director of Photography. For me, there are people who say “Le Rayon Vert, it’s wonderful, but what’s he doing with 16mm, Rohmer’s crazy, it’s not professional!” I want to slap them. I tell them, “Go back home. Cinema isn’t that, cinema is time. If you’re not sensitive to the fact that Rohmer invents times that only he invents…” Obviously, he also does it with images, and he’s got a rather good imaginary. I have nothing to say! All right. But it took me thirty years to understand that. So the simplest things in life are the ones you take longest to understand. The film-makers who are pure image-makers, pure imagists – there are some great ones – bore me to tears, everything that is decorative in cinema bores me to tears.

How can one define this mannerism? Nothing happens to human beings, everything happens to images - to Images. Images become characters with pathos, pawns in the game. We tremble for them, we want them to be kindly treated, they are no longer just produced by the camera, but manufactured outside it, and its "pre-visualization," thanks to video, is the object of what little love is left in the cold hearts (I am exaggerating) of the filmmakers. In a mannerist world, actors "of flesh, blood and celluloid" are quickly reduced to the status of stand-ins and quotations of themselves, to visual signals. They're still there, but they've ceased to be interesting ages ago.

Quincy Endicott wrote:Neki dan sam ponovo odgledao Life Aquatic i ko ne voli Wesa Andersona ne treba da živi.