Henry Selick on the set of James and the Giant Peach (1996)

Henry Selick on the set of James and the Giant Peach (1996)

y Maria Sole Tognazzi on the set of A Five Star Life (2013)

Maria Sole Tognazzi on the set of A Five Star Life (2013)

y Thomas Carter and Michael Chiklis on the set of When the Game Stands Tall (2014)

Thomas Carter and Michael Chiklis on the set of When the Game Stands Tall (2014)

y Larry Clark on the set of The Smell of Us (2014)

Larry Clark on the set of The Smell of Us (2014)

pickledelephant:

Director Josh Boone and writer John Green with the cast and crew behind the scenes of The Fault In Our Stars (2014)

Michel Gondry on the set of Mood Indigo (2013)

y Thomas Carter on the set of When the Game Stands Tall (2014)

Thomas Carter on the set of When the Game Stands Tall (2014)

Jodie Foster on the set of ‘Orange is the New Black’

"In the Eighties, when I was in college in 1988. That was almost the end of the military dictatorship. I was a student protester. I was part of a lot of demonstrations against the government and I would have to run away from riot police. In one particular instance, I ran away and opened a random door and ended up in a very classy, high-end hotel. I found myself in this lobby where there was piano music and just two seconds ago they were shooting tear gas at me. There I was listening to Mozart and guests were dressed up in nice clothes drinking coffee as if nothing was going on. I was just in a daze, thinking ‘where am I’? That feeling is definitely a part of the sushi bar scene."

Bong Joon-ho (x)

"The theaters of the future will be bigger and more beautiful than ever before. They will employ expensive presentation formats that cannot be accessed or reproduced in the home (such as, ironically, film prints). And they will still enjoy exclusivity, as studios relearn the tremendous economic value of the staggered release of their products.
The projects that most obviously lend themselves to such distinctions are spectacles. But if history is any guide, all genres, all budgets will follow. Because the cinema of the future will depend not just on grander presentation, but on the emergence of filmmakers inventive enough to command the focused attention of a crowd for hours.
These new voices will emerge just as we despair that there is nothing left to be discovered. As in the early ’90s, when years of bad multiplexing had soured the public on movies, and a young director named Quentin Tarantino ripped through theaters with a profound sense of cinema’s past and an instinct for reclaiming cinema’s rightful place at the head of popular culture.
Never before has a system so willingly embraced the radical teardown of its own formal standards. But no standards means no rules. Whether photochemical or video-based, a film can now look or sound like anything.
It’s unthinkable that extraordinary new work won’t emerge from such an open structure. That’s the part I can’t wait for."

Christopher Nolan, “Films of the Future Will Still Draw People to Theaters”.