y 

Always make the audience suffer as much as possible. -Alfred Hitchcock

Always make the audience suffer as much as possible. -Alfred Hitchcock

y 
Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you’ve got to go deeper. -David Lynch

Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you’ve got to go deeper. -David Lynch

y 
Martin Scorsese on the set of Shutter Island
Martin Scorsese on the set of Shutter Island

y pickledelephant:

Andrei Tarkovsky and Sven Nykvist while filming The Sacrifice (1986)








The climactic scene at the end of The Sacrifice is a long tracking shot in which the main character - Alexander burns down his house and all his possessions. It was done in a single, six minute, fifty second take (it’s often misstated as Tarkovsky’s longest shot). The shot was very difficult to achieve. Initially, there was only one camera used, despite Sven Nykvist’s protest. While shooting the burning house, the camera jammed, ruining the footage.
The scene had to be re-shot, requiring a quick and very costly reconstruction of the house in two weeks. This time two cameras were set up on tracks, running parallel to each other. The footage in the final version of the film is the second take, which lasts for several minutes and ends abruptly because the camera had run through an entire reel in capturing the single shot. The cast and crew broke down in tears after the take was completed.

pickledelephant:

Andrei Tarkovsky and Sven Nykvist while filming The Sacrifice (1986)

The climactic scene at the end of The Sacrifice is a long tracking shot in which the main character - Alexander burns down his house and all his possessions. It was done in a single, six minute, fifty second take (it’s often misstated as Tarkovsky’s longest shot). The shot was very difficult to achieve. Initially, there was only one camera used, despite Sven Nykvist’s protest. While shooting the burning house, the camera jammed, ruining the footage.

The scene had to be re-shot, requiring a quick and very costly reconstruction of the house in two weeks. This time two cameras were set up on tracks, running parallel to each other. The footage in the final version of the film is the second take, which lasts for several minutes and ends abruptly because the camera had run through an entire reel in capturing the single shot. The cast and crew broke down in tears after the take was completed.

y 

What does it take to be a filmmaker in Hollywood? Even today I still wonder what it takes to be a professional or even an artist in Hollywood. How do you survive the constant tug of war between personal expression and commercial imperatives? What is the price you pay to work in Hollywood? Do you end up with a split personality? Do you make one movie for them, one for yourself? -Martin Scorsese

What does it take to be a filmmaker in Hollywood? Even today I still wonder what it takes to be a professional or even an artist in Hollywood. How do you survive the constant tug of war between personal expression and commercial imperatives? What is the price you pay to work in Hollywood? Do you end up with a split personality? Do you make one movie for them, one for yourself? -Martin Scorsese

y pickledelephant:

Faye Wong, Kar-Wai Wong and Tony Leung Chiu-Wai on the set of Chungking Express (1994)

pickledelephant:

Faye Wong, Kar-Wai Wong and Tony Leung Chiu-Wai on the set of Chungking Express (1994)

y 

Nothing would disgust me more morally than winning an Oscar. -Luis Buñuel

Nothing would disgust me more morally than winning an Oscar. -Luis Buñuel

pickledelephant:

Donatas Banionis and Andrei Tarkovsky on the set of Solaris (1972)