Pedro Costa


I was an assistant for a long time. I had a very painful, nightmarish life of late nights shooting and organising. I did lots and lots of films, but not many Portuguese. French, German, American. I know 3am the actress, I know 6am the actor, I know 9am the director. I remember one director crying. I remember one director panicking. Even if you’re strong and macho and say this is for macho guys, like Coppola, it’s not. I had this life, and then I made my films. When I made my films, I wanted to get rid of that. Not the crew, but the social nuisance. There should be a mirror in front of the camera, not behind. I saw the mirror behind, and what was behind was the boss, the slaves, the whores, the money. All the worst aspects. It wasn’t working for me.



A.V. Club: What can cinema do to an idea?

David Lynch: Cinema is a medium that can translate ideas. But wood can translate ideas, too. You have wood and then you get a chair. Some ideas are for different things.

AVC: Does that translation draw out parallels between different ideas that you weren’t aware of when you started?

DL: For sure. I wasn’t aware of anything. Then, suddenly, you’re aware. It’s like somebody giving you a puzzle piece without any kind of frame—you get a puzzle piece and then a few more. It doesn’t help you much, but you love the little pieces. You don’t know if they relate. In this process, hopefully, a feature film script will emerge. And then, one day, you’re surprised by how it all comes together.

[A.V. Club]


Film Comment:Would it be conceivable for you to make a computer-generated film in the manner of Pixar, provided it were possible to render fully realistic, lifelike images of humans?

Michael Haneke: Absolutely. It could be total cinéma d’auteur. But the pleasure and the value of collaborating with others, primarily with the actors, would be gone. The kind of tension that you always look for, between a written part and a real person who inhabits that part with all the additional qualities that are unique to this actor—that element would be gone.



I have always been drawn to things that were in the margins and not in the mainstream – this was true of me even as a teenager in Akron. I remember when I was fourteen or so, this friend of mine had an older brother who used to hitchhike to New York and other places, and while he was gone, we’d go into his room and find records by Ornette Coleman or The Mothers of Invention, and books by William Burroughs and Terry Southern. It was a revelation that there was more to the world than Akron, and that there were a lot of really interesting ideas that you could pursue and investigate that were very obviously not in the mainstream.

-Jim Jarmusch



When I write I must try to capture something in words which for all useful purposes, you might say, can’t be expressed in words. Later it is necessary to translate the words again so that in quite another context they’ll come alive. To be sure, so long as I have a firm grasp on my point of departure, there will always be an inner relationship between the original vision I had and the completed, materialized picture-sequence.
While that original conception must always be in the background, I must not let it become too dictatorial, since, for one thing, I must be prepared to modify it when I switch from writing to directing. For another, my actors, too, have a right – to say nothing of an obligation – to draw straws, to choose among alternatives. The whole process is essentially creative. You write down a melodic line and after that, with the orchestra, you work out the instrumentation.

-Ingmar Bergman [via]