I think that it is very important that in this moment in time to remember that dramaturgy and how you structure a story is something very personal, and it is not something that you can really learn from a book or you can abide to any of the rules that you hear. I think the way you tell it, the way that you pace a story, the way that you choose to represent it through very particular scenes that is a lot about your personality, and you should allow it to be rather than to make something with the correct turning points and the expected structure. I think really what movies need today are people that try to do something. It could be catchy, even though it’s original. There is not a dichotomy where you either you apply the right rules and it’s exciting or you don’t and it’s boring and it’s difficult. I think there is stuff to be explored there, to push films further. And I also think the most personal thing you do as a filmmaker is where you put your camera, how you perceive things, how you see them. And I would say mise-en-scène is the most important aspect of it. It’s the choosing of the characters in casting, how you portray them, how you approach them visually. I hear a lot of young filmmakers talking about “I’m all about performance, the camera can just be around them.” That worries me. There is a great possibility for thematic treatment and emotion in where you place the camera and what lens you use, your lighting. All that stuff that is more sensuous, more tactile. I think those are important things to sustain in filmmaking at the moment; even though we’re shooting digitally, there are wonderful possibilities of doing something beautiful still.
Joachim Trier
(via fuckyeahdirectors)
“When we set out to make Before Sunrise, Julie and I had a lot of apprehension about the level of dialogue Linklater wanted to be in the movie. ‘Nothing’s happening! Shouldn’t it at least be funny? Is this boring?’ and Rick answered that he’d never been in a helicopter crash, he’d never been involved in any espionage, he’d never been to outer space, and yet his life felt full of drama. And the most dramatic thing that ever happened to him was the experience of truly connecting with another person. And he really wanted to try to make a movie about that, about that connection, about that exchange of energy, ideas, and all the dialogue in Before Sunrise, Sunset and Midnight is chasing that connection. So whether it’s about politics, love, identity, spiritual yearning, sex - anything at all - it’s written with the goal of trying to uncover ‘the space between’ two people.” — Ethan Hawke, on making the Before trilogy with Richard Linklater (x)
I luuurve you, you know, I loave you, I luff you, two F’s, yes I have to invent, of course I - I do, don’t you think I do?
(via un-peu-de-beaute)
Interviewer: What inspired the use of colour transitions (in Punch-Drunk Love)? What drove you to include those in the film?
Paul Thomas Anderson: Pot.
(via jeffmoocow)
Celine: It’s depressing, no? Now the only thing we’re gonna think of is when we’re gonna have to say goodbye tomorrow.
Jesse: We can say goodbye now. Then we wouldn’t have to worry about it in the morning.
(Source: gavinvolure, via jessiccachastain)
You can change the direction this train is moving just by thinking about it.
That is freaky.
(via between2pillows)
