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Do you remember, Milan Kundera wrote this book about the lightness of the being? We just wanted to show you the heaviness of the being. You are doing always the same thing every day, but every day is a little bit different, and the life is just getting weaker and weaker, and, by the end, disappear. This is what this movie [“The Turin Horse” ] shows you.
Bela Tarr, In Auteur’s Swan Song, an Ode to Survival, February 3, 2012

In The Turin Horse, Tarr (co-directing with Agnes Hranitzky, whatever that means) is like the titular beast pulling that tired old dray; he’s treading water. Yet fest-circuit-whores pull out their quota of references—Beckett repeatedly. But why must Tarr be Beckett? I liked him for being Tarr—circling and panning and traveling with his camera in ways that critics forgot Raoul Walsh, Michael Curtiz, Andrei Tarkovsky and Max Ophüls have already done.
Armond White, Tarr and Horse Feathers: Art Movie Turns to Glue, Feb 3, 2012

For the first sequence shot in Reconstruction (1970), I remember the cameraman asking me how long the take needed to be. As the camera rolled, I closed my eyes. I listened to the sounds being made by the actors. I could hear their breathing and their footsteps. When it sounded right I said, ‘Stop.’ And it was perfect. The timing of these shots is not something I choose. These shots are not protracted in any way. Each shot is simply as long as it needs to be. It’s more of an instinct rather than a choice. When I devise these shots, I have to choose whether I give in to the things I see with my own eyes. Then I must decide if it’s worth intervening with the landscape in some way to fit with my initial dream.
... I’d describe myself as a translator. A translator of a sound, a feeling and a time that comes from far away. When it comes to me, I have no choice but to absorb it.
... The only place I really feel at home is in a car next to a driver. I don't drive myself, but I find the simple act of passing through landscapes very moving. The way I look at the world on my various travels is what essentially defines my filmmaking.
... I don't make films just to try and achieve something. It's the experience that counts – the process. It's about how the scene is formulated. It's giving birth to the image that matters to me.
... Every generation is influenced by the previous one. It’s a cycle of reprocessing – of handing ideas down through time. If ever I see a film where there’s a long sequence shot, or an idea I’d recognise from my own films, I just remember that I was influenced – possibly unconsciously – by the generation of filmmakers before me, and they would probably have had the same reaction if they were watching my films.
... Everything back then that looked like a series of bleak possibilities for our future is now being confirmed. I come from a generation where we thought we were going to change the world. Back around 2000 was when it felt like the dream was over.
... The end of The Dust of Time (2008) is also the end of a dream. This new film ["The Other Sea" ] is about the lack of a dream at the moment. I don’t think the problems of the present [in Greece] are necessarily financial problems, but a general lack of values. This new film talks about a closed horizon. As a country, it’s like we’re all sitting in a closed waiting room, and we have no idea what’s going to happen when that door is finally opened.
Theo Angelopoulos, The sweep of history, Sight & Sound, Febuary 2012

บันทึก : Theo Angelopoulos ถูกรถมอเตอร์ไซด์ชนเสียชีวิตเมื่อวานนี้ (24 มค.) ระหว่างการถ่ายทำหนังเรื่องใหม่ ["The Other Sea" ]

I think cynicism lasts. Sentimentality ages, dates quickly...
... I used to be friends with an old Czech director, Jiri Weiss, and Down And Out In Beverly Hills had just come out and he said, 'Did you see Down And Out In Beverly Hills?' I said, 'Yes, I did.' [ Payne impersonates Weiss's accent.] 'Who vas ze best actor in Down And Out In Beverly Hills?' and I said, 'Oh, the dog' and he said, 'Yes, by far ze dog was ze best actor in ze film. Now, vhy vas ze dog ze best actor in zat film? I vill tell you vhy. He does not know how to be anything other than a dog. He is perfectly cast as ze dog.' And that's exactly right.
Alexander Payne, Life after Sideways, 13 January 2012

It can't be changed, and it [censorship] will be there in the future. It's my personal wish that the process will be increasingly tolerant as Chinese society and the economy develops, to allow creative people more and more space.
... Foreigners think that because I did the opening ceremony of the Olympics, I have certain privileges, but in fact it's not like that at all. In front of censorship, everyone is equal. My film may be subject to more scrutiny. Leaders in charge often tell me in private that my film will be looked at more closely because I will have bigger audiences, both in China and overseas.
... We have seen many incidents where people feel lost spiritually, when culture lags behind the economy so much. I think it is necessary for culture to develop in pace with the economy; otherwise the world will see China as a rich neighbor that lacks culture.
Zhang Yimou, A Filmmaker Walks a Line Between Artistic Acceptance and Official Approval, January 6, 2012