1. “If people cannot write well, they cannot think well, and if they cannot think well, others will do their thinking for them.”
2. “- Never use a metaphor, simile, or other figure of speech which you are used to seeing in print.
– Never use a long word where a short one will do.
– If it is possible to cut a word out, always cut it out.
– Never use the passive where you can use the active.
– Never use a foreign phrase, a scientific word, or a jargon word if you can think of an everyday English equivalent.
– Break any of these rules sooner than say anything outright barbarous.”
3. “When I sit down to write a book, I do not say to myself, ‘I am going to produce a work of art.’ I write it because there is some lie that I want to expose, some fact to which I want to draw attention, and my initial concern is to get a hearing.”
4. “For after all, what is there behind, except money? Money for the right kind of education, money for influential friends, money for leisure and peace of mind, money for trips to Italy. Money writes books, money sells them. Give me not righteousness, O lord, give me money, only money.”
5. “In an age like our own, when the artist is an altogether exceptional person, he must be allowed a certain amount of irresponsibility, just as a pregnant woman is. Still, no one would say that a pregnant woman should be allowed to commit murder, nor would anyone make such a claim for the artist, however gifted. If Shakespeare returned to the earth to-morrow, and if it were found that his favourite recreation was raping little girls in railway carriages, we should not tell him to go ahead with it on the ground that he might write another King Lear. And, after all, the worst crimes are not always the punishable ones. By encouraging necrophilic reveries one probably does quite as much harm as by, say, picking pockets at the races. One ought to be able to hold in one’s head simultaneously the two facts that Dali is a good draughtsman and a disgusting human being. The one does not invalidate or, in a sense, affect the other. The first thing that we demand of a wall is that it shall stand up. If it stands up, it is a good wall, and the question of what purpose it serves is separable from that. And yet even the best wall in the world deserves to be pulled down if it surrounds a concentration camp. In the same way it should be possible to say, “This is a good book or a good picture, and Read the rest of this entry
1. “Movies touch our hearts and awaken our vision, and change the way we see things. They take us to other places, they open doors and minds. Movies are the memories of our life time, we need to keep them alive.”
2. “Film is history. With every foot of film that is lost, we lose a link to our culture, to the world around us, to each other and to ourselves.”
3. “Black and white is never really black and white. It’s shades of grey.”
4. on Akira Kurosawa: “The term ‘giant’ is used too often to describe artists. But in the case of Akira Kurosawa, we have one of the rare instances where the term fits.”
5. “L’avventura” gave me one of the most profound shocks I’ve ever had at the movies, greater even than “Breathless” or “Hiroshima, mon amour”. Or “La Dolce Vita”. At the time there were two camps, the people who liked the Fellini film and the ones who liked L’Avventura. I knew I was firmly on Antonioni’s side of the line, but if you’d asked me at the time, I’m not sure I would have been able to explain why. I loved Fellini’s pictures and I admired La Dolce Vita, but I was challenged by L’ Avventura. Fellini’s film moved me and entertained me, but Antonioni’s film changed my perception of cinema, and the world around me, and made both seem limitless. I was mesmerized by L’Avventura and by Antonioni’s subsequent films, and it was the fact that they were unresolved in any conventional sense that kept drawing me back. They posed mysteries – or rather the mystery, of who we are, what we are, to each other, to ourselves, to time. You could say that Antonioni was looking directly at the mysteries of the soul. That’s why I kept going back. I wanted to keep experiencing these pictures, wandering through them. I still do.” Read the rest of this entry
1. “I never learned anything at all in school and didn’t read a book for pleasure until I was 19 years old.”
2. “How could we possibly appreciate the Mona Lisa if Leonardo had written at the bottom of the canvas: ‘The lady is smiling because she is hiding a secret from her lover.’ This would shackle the viewer to reality, and I don’t want this to happen to 2001.
3. “Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.”
4. “I don’t think that writers or painters or filmmakers function because they have something they particularly want to say. They have something that they feel. And they like the art form; they like words, or the smell of paint, or celluloid and photographic images and working with actors. I don’t think that any genuine artist has ever been oriented by some didactic point of view, even if he thought he was.”
5. “Heroic violence in the Hollywood sense is a great deal like the motivational researchers’ problem in selling candy. The problem with candy is not to convince people that it’s good…but to free them from the guilt of eating it. We have seen so many times that the body of a film serves merely as an excuse for motivating a final blood-crazed slaughter by the heroes of his enemies, and at the same time to relieve the audience’s guilt of enjoying this mayhem.” Read the rest of this entry
All of these quotes were chosen from Sidney Lumet’s Making Movies. Additionally, the comments in front of some of the quotes were added due to the collaboration of Christopher Murrie, A.C.E.
1. Blue or red may mean totally different things to you and me. But as long as my interpretation of a colour is consistent, eventually you’ll become aware (subconsciously, I hope) of how I’m using that colour, and what I’m using it for.
2. Don’t let the difficulty of actually achieving a shot make you think that the shot is good. (This times a million. The audience doesn’t care how hard/cool it was to get that shot. If it isn’t right, it isn’t right. As an editor, this one gets me pretty frustrated. Don’t be precious.)
3. There are no small decisions in movie-making. Nowhere does this apply more than in editing.
4. Almost every picture is improved by a good musical score. To start with, music is a quick way to reach people emotionally. (True. But be careful when using temps. Make your scenes play without music first. Then, score enhances what is already great. It is too easy to lean on music to make a scene play when it otherwise wouldn’t. Hell, I like to cut with no sound at all sometimes just to make every idea play as best I can purely on the basis of the visuals.)
5. Everything becomes creative if the person doing the job is. Read the rest of this entry
I know it’s not a popular opinion, but here it goes: Neo’s an asshole.
Matrix was centered on the struggles of Human resistance against the dominance of their mechanical counterparts. A Rage against the machines, if you will. We see this from the biased human perspective, of course. We’re conditioned to be on Neo’s side… but should we?
1- Agent Smith provides the first reason that shows that Neo is one of the bad guy: “I’d like to share a revelation that I’ve had during my time here. It came to me when I tried to classify your species and I realized that you’re not actually mammals. Every mammal on this planet instinctively develops a natural equilibrium with the surrounding environment but you humans do not. You move to an area and you multiply and multiply until every natural resource is consumed and the only way you can survive is to spread to another area. There is another organism on this planet that follows the same pattern. Do you know what it is? A virus. Human beings are a disease, a cancer of this planet. You’re a plague and we are the cure.”
2- The machines needed sunlight to function, the humans thought. As a result, we decided to wreck the entire planet and all its life forms, which have existed for billions of years, for our own benefit. There’s not much said about the machines actions, but apart from wanting to annihilate humanity they probably were pretty good guys. I don’t see why they wouldn’t give a hand to penguins or pandas. They’d definitely leave beavers to attend to their own affairs, every dam way they’d like. But no. We decided to destroy everything for a remote chance of a survival in an austere world.
3- The machines cultivated the humans as the energy source the humans took from them. No pig, cow or hen ever took anything from a human being. And no, Babe or Chicken Little don’t count. We still breed and feed them, we keep them in animal farms much like the ones the machines kept the humans. Difference: the machines gave us an entertainment. In the Matrix, we get to play humans to pass the time. The pigs don’t get to play animals.
4- The machines work as, well, a well-oiled machine. They act as a group and have a collective goal in mind. Obliterating humanity may not be the best goal, but it’s not the worse either. It’s a goal. Humans betray each other for what they know to be an illusion. At their best, they pull together for short bursts, waiting for a miracle to come.
5- In the end, humans rely on divinity. The message is, no matter what you do, you have to rely on higher powers. You can only do so much. Neo is god. A flawed god who attains very little, but a god nonetheless. The machines
I’m not the messiah, but you can follow me: