THIS IS THE STORY OF HOW ANNA KARINA & JEAN-LUC GODARD FIRST “GOT TOGETHER”

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Anna Karina: That happened while we were shooting the picture in Geneva. It was a strange love story from the beginning. I could see Jean-Luc was looking at me all the time, and I was looking at him too, all day long. We were like animals. One night we were at this dinner in Lausanne. My boyfriend, who was a painter, was there too. And suddenly I felt something under the table – it was Jean-Luc’s hand. He gave me a piece of paper and then left to drive back to Geneva. I went into another room to see what he’d written. It said, “I love you. Rendezvous at midnight at the Café de la Prez.” And then my boyfriend came into the room and demanded to see the piece of paper, and he took my arm and grabbed it and read it. He said, “You’re not going.” And I said, “I am.” And he said, “But you can’t do this to me.” I said, “But I’m in love too, so I’m going.” But he still didn’t believe me. We drove back to Geneva and I started to pack my tiny suitcase. He said, “Tell me you’re not going.” And I said, “I’ve been in love with him since I saw him the second time. And I can’t do anything about it.” It was like something electric. I walked there, and I remember my painter was running after me crying. I was, like, hypnotized – it never happened again to me in my life.

So I get to the Cafe de la Prez, and Jean-Luc was sitting there reading a paper, but I don’t think he was really reading it. I just stood there in front of him for what seemed like an hour but I guess was not more than thirty seconds. Suddenly he stopped reading and said,” Here you are. Shall we go?” So we went to his hotel. The next morning when I woke up he wasn’t there. I got very worried. I took a shower, and then he came back about an hour later with the dress I wore in the film – the white dress with flowers. And it was my size, perfect. It was like my wedding dress.

We carried on shooting the film, and, of course, my painter left. When the picture was finished, I went back to Paris with Jean-Luc, Michel Subor, who was the main actor, and Laszlo Szabo, who was also in the film, in Jean-Luc’s American car. We were all wearing dark glasses and we got stopped at the border – I guess they thought we were gangsters. When we arrived in Paris, Jean-Luc dropped the other two off and said to me, “Where are you going?” I said, “I have to stay with you. You’re the only person I have in the world now.” And he said, “Oh my God.”

Extract taken from an interview with Anna Karina conducted by Graham Fuller in Projections 13: Women Film-makers on Film-making, edited by Isabella Weibrecht, John Boorman and Walter Donohue (Faber & Faber, 2004)

(via Focus Features)

Antonin Artaud

Je réclame des films fantasmagoriques, des films poétiques, au sens dense, philosophique du mot, des films psychiques. Ce qui n’exclut ni la psychologie, ni l’amour, ni le déballage d’aucun des sentiments de l’homme. Mais des films où soit opérée une trituration, une remalaxation des choses du cœur et de l’esprit afin de leur conférer la vertu cinématographique qui est à chercher.

Lars Von Trier: 15 Classic Quotes

"I come from a family of communist nudists. I was allowed to do or not do what I liked. My parents were not interested in whether I went to school or got drunk on white wine." – Die Zeit

"This is cream on cream. A woman’s film! I feel ready to reject the film like a wrongly transplanted organ." – ‘Melancholia’ Director’s Statement

"If anyone would like to hit me, they are perfectly welcome. I must warn you, though, that I might enjoy it. So maybe it’s not the right kind of punishment." – Spiegel

"Because I’m a cultural rebel, I couldn’t make a porn film without a dick and a condom. So it will have to be soft-core."- IndieWire

"I don’t know why everybody thinks I’m very, very small. This T-shirt I have now is Ingmar Bergman on a cloud. It was given to me a week ago. I’m not really sure he is on a cloud. I think maybe he went straight to hell, but that we don’t know. " – IFC

"I’m actually mixing up the genres a little bit here, so that we put full penetration into a film where full penetration should not be." – AV Club

"First of all, I ask them to read everything really carefully, so I would not all of a sudden have to tell them ‘Now you should masturbate in the woods and stuff.’ Because in my experience, it’s a very good idea to discuss that in advance. - AV Club

"I’m happy that I’m alive. I feel like someone coming back from Vietnam, you know; I’m sure that later on I’ll start killing people in a square somewhere, but right now, I just feel happy to be alive." – interview with Jan Lumholdt

"I am a man of very many anxieties but doing strange things with the camera is not one of them." – The Guardian

"I’m not a woman! Let’s make that very clear! Oh I don’t know, maybe I am. I am an American woman. Or 65 percent of me is." – Die Zeit

"The problem with men is that they will always piss up your back, like when all the deer are together in the woods." – Bright Lights Film

"Even this room holds a thousand stories you could include…for instance, the story of the origin of this chair. How has it been used previously and why is it exactly this chair here and not another chair which perhaps ought to have been here?" – Interview with Nils Thorsen

"Compared to Bush, Clinton seemed like a good guy, right? He was playing saxophone." – Black Book

"You can do almost anything on film now. With the help of computers, I can insert a herd of elephants into a scene, or create an earthquake. But that doesn’t interest me. I’d rather draw the shape of a dog on the studio floor to mark that there is a dog there, or put a crate of beer in a corner to indicate a bar." – The Guardian

"Everything is going to hell, but we should smile all the way." - Little White Lies

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A film should be like a rock in the shoe.

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chapter 9

Suppose, however, that God decided that the universe should finish up in a state of high order but that it didn’t matter what state it started in. At early times the universe would probably be in a disordered state. This would mean that disorder would decrease with time. You would see broken cups gathering themselves together and jumping back onto the table. However, any human beings who were observing the cups would be living in a universe in which disorder decreased with time. I shall argue that such beings would have a psychological arrow of time that was backward. That is, they would remember events in the future, and not remember events in their past. When the cup was broken, they would remember it being on the table, but when it was on the table, they would not remember it being on the floor.

It is rather difficult to talk about human memory because we don’t know how the brain works in detail. We do, however, know all about how computer memories work. I shall therefore discuss the psychological arrow of time for computers. I think it is reasonable to assume that the arrow for computers is the same as that for humans. If it were not, one could make a killing on the stock exchange by having a computer that would remember tomorrow’s prices! A computer memory is basically a device containing elements that can exist in either of two states. A simple example is an abacus. In its simplest form, this consists of a number of wires; on each wire there are a number of beads that can be put in one of two positions. Before an item is recorded in a computer’s memory, the memory is in a disordered state, with equal probabilities for the two possible states. (The abacus beads are scattered randomly on the wires of the abacus.) After the memory interacts with the system to be remembered, it will definitely be in one state or the other, according to the state of the system. (Each abacus bead will be at either the left or the right of the abacus wire.) So the memory has passed from a disordered state to an ordered one. However, in order to make sure that the memory is in the right state, it is necessary to use a certain amount of energy (to move the bead or to power the computer, for example). This energy is dissipated as heat, and increases the amount of disorder in the universe. One can show that this increase in disorder is always greater than the increase in the order of the memory itself. Thus the heat expelled by the computer’s cooling fan means that when a computer records an item in memory, the total amount of disorder in the universe still goes up. The direction of time in which a computer remembers the past is the same as that in which disorder increases.

—-

But what would happen if and when the universe stopped expanding and began to contract? Would the thermodynamic arrow reverse and disorder begin to decrease with time? This would lead to all sorts of science-fiction-like possibilities for people who survived from the expanding to the contracting phase. Would they see broken cups gathering themselves together off the floor and jumping back onto the table? Would they be able to remember tomorrow’s prices and make a fortune on the stock market? It might seem a bit academic to worry about what will happen when the universe collapses again, as it will not start to contract for at least another ten thousand million years. But there is a quicker way to find out what will happen: jump into a black hole. The collapse of a star to form a black hole is rather like the later stages of the collapse of the whole universe. So if disorder were to decrease in the contracting phase of the universe, one might also expect it to decrease inside a black hole. So perhaps an astronaut who fell into a black hole would be able to make money at roulette by remembering where the ball went before he placed his bet. (Unfortunately, however, he would not have long to play before he was turned to spaghetti. Nor would he be able to let us know about the reversal of the thermodynamic arrow, or even bank his winnings, because he would be trapped behind the event horizon of the black hole.)

At first, I believed that disorder would decrease when the universe recollapsed. This was because I thought that the universe had to return to a smooth and ordered state when it became small again. This would mean that
the contracting phase would be like the time reverse of the expanding phase. People in the contracting phase would live their lives backward: they would die before they were born and get younger as the universe contracted.

A Brief History of Time, Stephen Hawking

Edvard Munch

“ When seen as a whole, art derives from a person’s desire to communicate himself to another. I do not believe in an art which is not forced into existence by a human being’s desire to open his heart. All art, literature, and music must be born in your heart’s blood. Art is your heart’s blood.

“A work of art can only come from the interior of man. Art is the form of the image formed upon the nerves, heart, brain and eye of man.”

“I was walking along the road with two friends. The sun set. I felt a tinge of melancholy. Suddenly the sky became a bloody red. I stopped, leaned against the railing, dead tired. And I looked at the flaming clouds that hung like blood and a sword over the blue-black fjord and city. My friends walked on. I stood there, trembling with fright. And I felt a loud, unending scream piercing nature.”

“Certainly a chair can be just as interesting as a human being. But first the chair must be perceived by a human being. In one way or another it must have affected him emotionally, and the viewer must be made to feel the same way. You should not paint the chair, but only what someone has felt about it.”

“For as long as I can remember I have suffered from a deep feeling of anxiety which I have tried to express in my art. Without anxiety and illness I should have been like a ship without a rudder.”

“From the moment of my birth, the angels of anxiety, worry, and death stood at my side, followed me out when I played, followed me in the sun of springtime and in the glories of summer. They stood at my side in the evening when I closed my eyes, and intimidated me with death, hell, and eternal damnation. “

“Nature is not all that is visible to the eye…it also includes the inner pictures of the soul.”

“I painted the picture and in the colors the rhythm of the music quivers. I painted the colors I saw.”

“No longer shall I paint interiors with men reading and women knitting. I will paint living people who breathe and feel and suffer and love.”


Edvard Munch

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