dragon

I want to express the failure of erotic desire to be realized in contemporary urban space. I would like to make my films about disappearing, like The Skywalk is Gone [2002] and Goodbye Dragon Inn. The whole theatre is disappearing in that film! This subject is important to me because society changes so fast and everything disappears so fast – historical sites, culture. One day I walked to the area where Lee Kang-Sheng was selling watches [in What Time is it There?], and I realized that ‘the skywalk is gone.’ It happens in Asia like that, things just disappear. People in their forties have no way of finding traces of their childhood. Modern people are afraid of disappearance. Living in Taipei, for example, we constantly have to deal with compelling visual change. We ask the question: what do you love the most? Who do you love the most? You will lose them – it will happen in modern society. My films ask the question: how we can face the disappearance? The loss?

-Tsai Ming-liang

[Yale]

milani

Personally, I don’t see cinema itself as truly important. I am not crazy for film. I chose film as a medium, as an instrument with which I can explain my ideas and to describe what is going on in my head and heart. And I think that I have been pretty successful at it. I have made nine feature films and a short for UNICEF.

Eight films deal with Iranian women, the middle class, and social, economic, and other problems. I try to show our society what is going on in women’s heads, what are their hopes, what they want and love. I attempt to describe my ideas to our society. And I am not like other directors. For example, I don’t concern myself with foreign film festivals. I love my people and I love it when Iranians come and see my films. I am truly happy that I am so successful outside of Iran, but my main goal is to satisfy the Iranian public.

-Tahmineh Milani

[Qantara]

rohmer

I always thought, even when I was a critic, that the brutal and simplistic reaction of the spectator is a good thing. I know that back then in Cahiers, we praised very commercial films in trying to defend them from a point of view that was not that of the man on the street. But this point of view doesn’t bother me. If people want to take things literally in the film, things that I myself may not take literally, I don’t say that this goes against its meaning, I say that it’s a more unsophisticated way of receiving the film, that’s all. I absolutely take on board every interpretation. That doesn’t mean I have to accept them, but once I finish a film, it escapes me, it closes itself off from me, and I can’t enter it any more. It’s up to the public to penetrate through whichever door they wish. I am not speaking about critics, who claim to have found the key, the right key, the only one which opens the big entrance gate. But that’s not my problem any more, thank God. I am not looking for the keys to Hitchcock any more, like I used to.

-Eric Rohmer

[Senses of Cinema]

monika

What was it like making Monika?
I didn’t make Monika. [Source novel author and coscreenwriter Per Anders] Fogelström bred her in me and then, like an elephant, I was pregnant for three years, and last summer she was born with a big ballyhoo. Today, she is a beautiful and naughty child. I hope she will cause an emotional uproar and all sorts of reactions. I shall challenge any indifferent person to a duel!

A wild paternal love, indeed!

For most people, a film is a short-lived product, like soap, matches, or polished false teeth. But not for the film director. He lives with his opus (like the devil, he does) until opening night, when he unwillingly surrenders it to the public.

-Ingmar Bergman, in an interview with himself.

[criterion]

film01

I remember lines of poetry I wrote when I was 18 or 19 years old, and they were of a religious nature. I realized, too, that much of my Marxism has a foundation that is irrational and mystical and religious. But the sum total of my psychological constitution tends to make me see things not from the lyrical-documentary point of view but rather from an epic point of view. There is something epic in my view of the world. And I suddenly had the idea of doingThe Gospel, which would be a tale that can be defined metrically as Epic-lyric.
Although St. Matthew wrote without metrics, he would have the rhythm of epic and lyric production. And for this reason, I have renounced in the film any kind of realistic and naturalistic reconstruction. I completely abandoned any kind of archaeology and philology, which nevertheless interest me in themselves. I didn’t want to make an historical reconstruction. I preferred to leave things in their religious state, that is, their mythical state. Epic-mythic.
Not desiring to reconstruct settings that were not philosophically exact—reconstructed on a sound stage by scene designers and technicians—and furthermore not wanting to reconstruct the ancient Jews, I was obliged to find everything—the characters and the ambiance—in reality. And so the rule that dominated the making of the film was the rule of analogy. That is, I found settings that were not reconstructions but that were analogous to ancient Palestine. The characters, too—I didn’t reconstruct characters but tried to find individuals who were analogous. I was obliged to scour southern Italy, because I realized that the pre-industrial agricultural world, the still feudal area of southern Italy, was the historical setting analogous to ancient Palestine. One by one I found the settings that I needed for The Gospel. I took these Italian settings and used them to represent the originals. I took the city of Matera, and without changing it in any way, I used it to represent the ancient city of Jerusalem. Or the little caverns of the village between Lucania and Puglia are used exactly as they were, without any modifications, to represent Bethlehem. And I did the same thing for the characters. The chorus of background characters I chose from the faces of the peasants of Lucania and Puglia and Calabria.

-Pier Paolo Pasolini (1965)

[Film Comment]

tarr

What made you interested in making films, coming from that background?

Bela Tarr: I loved the cinema always, and I loved to go watch movies. But what I saw there was just stupid lies and fake stories. I never saw life and I never saw anything about the people I knew. I never saw real passion, I never saw real emotions, or real camerawork. I never saw a real movie. I thought, if they cannot show me, then I have to do my movie.

Were you seeing Hollywood films or local ones?

Bela Tarr: Everything everywhere is the same. The whole fucking storytelling thing is everywhere the same. That’s why I decided I have to do my movies.

[Film Comment]

Pedro Costa

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.

[Mubi]