It's My Life

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.

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♥LIKE : Werner Herzog

(Source: fuckyeahherzog)

♥LIKE :
” Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right.

The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect.” - Werner Herzog

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5 months ago / 251 notes / reblog

Federico Fellini on the absolute truth of cinema

♥LIKE :

Interviewer:
You declared once, long ago, in 1969, that "a film is like an illness that is expelled from the body."
Federico Fellini:
No doubt there's a connection between pathology and creation, we can't deny it. Yet I view with pleasure the work of film professionals I love, such as Bunuel, Kurosawa, Kubrick, Bergman.
I'm perhaps a special type of spectator. I experience pleasure when I find myself in front of something that is the absolute truth, not because it resembles life, but because it's true as an image for itself, as a gesture. And therefore vital. It's the vitality that makes me appreciate and feel that the action succeeded. I think the expression of an artist's work finds consensus when, whoever enjoys it feels as if they're receiving a charge of energy, like a growing plant does, of something pulsing, mysterious, vibrant with life.