She didn’t twerk this time, nor declare herself a “fucking whore” and proud of it, but she still classed up last night’s ceremony by asking the audience to thank their teachers then quoting what felt like the whole of the Tempest, but actually only this:
Be cheerful, sir.
Our revels now are ended. These our actors,
As I foretold you, were all spirits and
Are melted into air, into thin air.
And like the baseless fabric of this vision,
The cloud-capped towers, the gorgeous palaces,
The solemn temples, the great globe itself –
Yea, all which it inherit – shall dissolve,
And like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep.
♥LIKE : Jean-Luc Godard on his Honorary Oscar Nomination alias Governor Award ( in 2010 )
- Monsieur Godard, next Saturday, the Academy of Motion Picture Arts & Sciences will award you an Honorary Oscar for lifetime achievement. What does this mean to you?
Nothing. If the Academy likes to do it, let them do it. But I think it’s strange. I asked myself: Which of my films have they seen? Do they actually know my films? The award is called The Governor’s Award. Does this mean that Schwarzenegger gives me the award?
- Why don’t you attend the award ceremony?
I don’t have a visa for the US and I don’t want to apply for one. And I don’t want to fly for that long.
♥LIKE : Jean-Luc Godard
What I want above all is to destroy the idea of culture.
Culture is an alibi of imperialism.
There is a Ministry of War. There is a Ministry of Culture.
Therefore, culture is a war.
♥LIKE : Jean-Luc Godard
Up to now — since shortly after the Bolshevik Revolution — most movie makers have been assuming that they know how to make movies.
Just like a bad writer doesn’t ask himself if he’s really capable of writing a novel — he thinks he knows.
If movie makers were building airplanes, there would be an accident every time one took off. But in the movies, these accidents are called Oscars.
♥LIKE : A LETTER FROM MARTIN SCORSESE TO HIS DAUGHTER - January 2nd, 2014 - ( full letter here )
” Dearest Francesca
I’m writing this letter to you about the future. ( … )
I don’t think I’m being pessimistic when I say that the art of cinema and the movie business are now at a crossroads. Audio-visual entertainment and what we know as cinema – moving pictures conceived by individuals – appear to be headed in different directions.
( … ) For the very first time in the history of the art form, movies really can be made for very little money. This was unheard of when I was growing up, and extremely low budget movies have always been the exception rather than the rule.
Now, it’s the reverse. You can get beautiful images with affordable cameras. You can record sound. You can edit and mix and color-correct at home. This has all come to pass.
But with all the attention paid to the machinery of making movies and to the advances in technology that have led to this revolution in moviemaking, there is one important thing to remember: the tools don’t make the movie, you make the movie.
In the past, because making movies was so expensive, we had to protect against exhaustion and compromise. In the future, you’ll have to steel yourself against something else: the temptation to go with the flow, and allow the movie to drift and float away.
This isn’t just a matter of cinema. There are no shortcuts to anything. I’m not saying that everything has to be difficult. I’m saying that the voice that sparks you is your voice – that’s the inner light, as the Quakers put it. That’s you. That’s the truth.
All my love.
Manoel de Oliveira (103)
Leni Riefenstahl (101)
Kaneto Shindo (98)
Mario Monicelli (91)
Alain Resnais (89)
Jonas Mekas (89)
Joris Ivens (89)
Miklós Jancscó (88)
Claude Lanzmann (87)
Eric Rohmer (87)
Lester James Peries (87)
Fernando Birri (86)
D.A. Pennebaker (84)
Nelson Pereira dos Santos (84)
Károly Makk (84)
Eddie Romero (84)
Sidney Lumet (83)
Akira Kurosawa (83)
Andrzej Wajda (82)
Michelangelo Antonioni (82)
*Age at world premiere of final or latest feature
From the “Trivial Top 20” in the May/June 2013 Film Comment
"♥LIKE : Werner Herzog
The distinction between Apocalypse Now and Fitzcarraldo is that Coppola always resolved films with ready cash. There was always a lot of money flowing around.
In my case, because I had to produce the film myself, I was down to the utmost limit. So I lived in a chicken coop and had nothing to eat anymore. But I remembered from Miami I had two bottles of shampoo — well, one was shampoo and the other was conditioner — and I traded it at the local market for four kilos of rice, and I ate rice for three or four weeks.
That’s how I survived."
No one can imagine how far down I was sometimes.