![Ingmar Bergman and Sven Nykvist on the set of ‘From the Life of the Marionettes’ (1980) [+]
entregulistanybostan:
Ingmar Bergman & Sven Nykvist on the set of ‘From the Life of the Marionettes’ (1980).
Vía](http://25.media.tumblr.com/tumblr_m4cpfo4db81qbrvi3o1_1280.jpg)
Ingmar Bergman and Sven Nykvist on the set of ‘From the Life of the Marionettes’ (1980) [+]
Ingmar Bergman & Sven Nykvist on the set of ‘From the Life of the Marionettes’ (1980).
Ingmar Bergman and Sven Nykvist on the set of ‘From the Life of the Marionettes’ (1980) [+]
Ingmar Bergman & Sven Nykvist on the set of ‘From the Life of the Marionettes’ (1980).
Orson Welles (as himself) and Akim Tamiroff (as Sancho Panza) -in Don Quijote (Orson Welles, 1957-1972)
from toutlecine
Francisco Reiguera (as Don Quijote) and Akim Tamiroff (as Sancho Panza) -in Don Quijote (Orson Welles, 1957-1972)
from toutlecine
Jean-Luc Godard answer the question “Is cinema a language about to get lost, an art about to die?” - in Room 666 (Wim Wenders, 1982)
Rainer Werner Fassbinder, Werner Herzog, and Wim Wenders (Lt. to rt), Cannes, 1982 -nd
This photo was taken in Room 666 at the Hotel Martinez (Cannes). During the 1982 Cannes Film Festival, Wenders asks a number of film directors from around the world to get, each one at a time, into a hotel room, turn on the camera and sound recorder, and, in solitude, answer a simple question: “Is cinema a language about to get lost, an art about to die?”
Among the film directors who answered were: Fassbinder, Godard, Herzog, Antonioni, Güney, Spielberg, etc
The movie is named “Room 666”: Details on Wim Wenders - Also the answers of Fassbinder and Herzog can be seen here
Neoexpresionismo alemán: Rainer Werner Fassbinder, Werner Herzog, and Wim Wenders (s-d)
Rainer Werner Fassbinder, Werner Herzog, and Wim Wenders
Auguste Renoir painting at home ca 1917
A longer footage of the movie… Thank you to i12bent and entregulistanybostan for posting and sharing another version. Go to their posts for more informations!
We don’t want Other Worlds. We want mirrors.
Jean- Luc Godard (left) and Raoul Coutard, Paris, 1960 -by Raymond Cauchetier
Raymond Cauchetier
Jean- Luc Godard (left) and Raoul Coutard, Paris, 1960
From “Une Femme Est Une Femme”
Pol Bury (third from the left) on the set of ‘8500 Tonnes de Fer’, 1971 -by Clovis Prévost
De temps à autre, ‘‘narguer’’ son propre style est nécessaire. L’apport d’oxygène frais est à ce prix. Donner à son œuvre plusieurs visages multiplie les plaisirs et, quoi qu’on en dise, le plaisir n’est pas un péché.
— Pol Bury, cit. in « Pol Bury: du point à la ligne, Bruxelles, Ministère de la Culture française, 1976 », Catalogue d’exposition
from Galerie Maeght
![Alexander Sokurov on the set of ‘Alexandra’ (2007)
As soon as we cross the door [of a movie theater], one and a half hour of our life is inevitably gone. That time will never come back. Imagine what is the responsability of a filmmaker in front of those who will lose one hour and a half of their life to see his work!— Alexander Sokurov, Interviewed by Antoine de Baecque and Olivier Joyard, Cahiers du cinéma, Janv. 1998
Just watched ‘Russian Ark’ and I can’t say that I have lost my time!… far from it.
photo from toutlecine](http://24.media.tumblr.com/tumblr_lyngd6M6Gp1qcl8ymo1_1280.jpg)
Alexander Sokurov on the set of ‘Alexandra’ (2007)
As soon as we cross the door [of a movie theater], one and a half hour of our life is inevitably gone. That time will never come back. Imagine what is the responsability of a filmmaker in front of those who will lose one hour and a half of their life to see his work!
— Alexander Sokurov, Interviewed by Antoine de Baecque and Olivier Joyard, Cahiers du cinéma, Janv. 1998
Just watched ‘Russian Ark’ and I can’t say that I have lost my time!… far from it.
photo from toutlecine
Federico Fellini on the set of ‘Boccaccio 70’ (Fellini, 1962)
Federico Fellini (s-d)
(via entregulistanybostan)
William Eugene Smith - Photography made difficult / VIDEO
“W. Eugene Smith: Photography Made Difficult” is a ninety-minute documentary produced for the Public Broadcasting System’s American Masters television series. It was written by Jan Hartman and is based on the letters and journals of this internationally respected photojournalist.
The program introduces the viewer to hundreds of Mr. Smith’s photographs through a dramatic recreation of the photographer’s life. Peter Riegart portrays the artist, starting with his assignment covering the South Pacific war experiences of the 1940’s. Through his photographs for Life Magazine, Mr. Smith wanted to “carry some message against the greed, stupidity and intolerance that causes war”. If it were not for just a “simple accident of birth, the fate of a particular country of origin, we could be considered as the enemy”.
