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It’s freeing to pick up a camera and start shooting and then put it together with Final Cut Pro. Making a movie – the one you need to make - is something else. There are no shortcuts.

If John Cassavetes, my friend and mentor, were alive today, he would certainly be using all the equipment that’s available. But he would be saying the same things he always said – you have to be absolutely dedicated to the work, you have to give everything of yourself, and you have to protect the spark of connection that drove you to make the picture in the first place. You have to protect it with your life. In the past, because making movies was so expensive, we had to protect against exhaustion and compromise. In the future, you’ll have to steel yourself against something else: the temptation to go with the flow, and allow the movie to drift and float away.

Scorsese

Soundgarden - Burden In My Hand (by SoundgardenVEVO)

critical-theory: “ Watch the Star Wars and Jean-Paul Sartre Mashup. ”

critical-theory:

Watch the Star Wars and Jean-Paul Sartre Mashup.

(via these-shoes)

Zdzislaw Beksinski

Zdzislaw Beksinski

History Eraser - Courtney Barnett (by milkrecordsmelbourne)
strangewood: “ “I have become tired of cinema. The so-called entertainment value of films in recent years, the mechanisms of the market, and the constant pandering to popular taste, all disgust me. I don’t feel the need to keep making films or, to...

strangewood:

“I have become tired of cinema. The so-called entertainment value of films in recent years, the mechanisms of the market, and the constant pandering to popular taste, all disgust me. I don’t feel the need to keep making films or, to put it more bluntly, to make the kinds of films that expect the patronage of cinema audiences anymore. I keep asking myself: what is cinema? Why make films? Who am I doing this for? Who is the mass audience? Are they the people who watch Spielberg movies? Frankly speaking, I am not interested in this at all… I can’t make films for the system. Cinema as an object of consumption limits my creativity. I feel disorientated by the speed imposed on us. For me, slowness is a technique, an instrument helping me to find a path through this disorientation.”

Tsai Ming-liang
Born October 27, 1957

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The images of unsmiling children, looking back at the strange man who has entered into the private space of their fragile and critical object relations, should remind us that the moralising gaze of the camera is not a disinterested thing. We might work harder to remember whose interests these cameras serve. What the photographer ultimately found (and was perhaps looking for all along) was a mirror on his own experience: telling the Times journalist, “It was nice to go back to my childhood somehow.” This is a sad vision of adulthood where you have to point a camera at a child if all you really want to do is play with them.

Your Camera is Not a Toy: Photographing “Children From Around the World” (via photographsonthebrain)

(via photographsonthebrain)

remember

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Photography is a language. To communicate, you need to learn the language. The history of photography is like the vocabulary and influence is like a dialect. One shouldn’t be embarrassed about having an accent. That said, it has been important for me to reevaluate those influences as the years go by. There is a kind of mythmaking that inevitably surrounds influential artists. For me, it is more and more important to figure out how to function as a real-life human being than to emulate some sort of myth. I feel like I can now learn more from my influences by understanding the compromises and everyday challenges they faced than by upholding a schoolboy fantasy.

Alec Soth–on Influence, Summer Nights, and Allen Ginsberg - Aperture Foundation (via photographsonthebrain)

(via photographsonthebrain)