When a scene is being shot, it is very difficult to know what one wants it to say, and even if one does know, there is always a difference between what one has in mind and the result on film. I never think ahead of the shot I'm going to make the following day because if I did, I'd only produce a bad imitation of the original image in my mind. So what you see on the screen doesn't represent my exact meaning, but only my possibilities of expression, with all the limitations implied in that phrase. Perhaps the scene reveals my incapacity to do better; perhaps I felt subconsciously ironic toward it. But it is on film; the rest is up to you.
I try to avoid repetitions of any shot. It isn't easy to find one in my films. You might, I suppose, see something twice, but it would be rare. And then, you know, every line requires its own kind of shot. The American method of shooting one actor continuously, then moving to the other, then intercutting both this method is wrong. A scene has to have a rhythm of its own, a structure of its own.
If I roll my eyes and mutter,
if I clutch at my heart and scream in horror
like a third-rate actress chewing up a mad scene,
I do it in private and nobody sees
but the bathroom mirror.
I am very pleased to see Blair leaving 10 Downing Street. Really, this man caused the greatest humiliation to the Arabs and Muslims, besides George Bush and maybe even more than him. He is the only one in the Western world who supported Bush's wars in the Arab region. It was Tony Blair who encouraged the Americans to invade Iraq, and to wage the current war in it. This man employed lies, deceit, and deception. He discovered the British people and the entire world.[...]How can you reward this man by appointing him envoy to the Middle East? It is like a criminal who returns to the scene of the crime. You are sending Blair back to the scene of his crime. This is a problem. He should be pelted with rotten eggs and tomatoes, rather than receive this honor, because he destroyed us, and he hates us, as Arabs and Muslims.
Three blokes go into a pub. One of them is a little bit stupid, and the whole scene unfolds with a tedious inevitability.
Here I am once more in this scene of dissipation and vice, and I begin already to find my morals corrupted.
Destiny is not only a dramatist, it is also its own stage manager. That is, it sets the entrances of the characters on scene, gives them letters and other objects, and produces the off-stage noises to go with the dialogue: thunder, a carriage, a shot.
Defeated, I followed my impulse casually. I followed a woman who had been watching me from her corner. Then we walked side by side. We said a few words; she took me home with her. Then I went through the banal scene. It passed like a sudden hurtlingdown. Again, I am on the pavement and I am not at peace as I had hoped. An immense confusion bewilders me. It is as if I could not see things as they were. I see too deep and too much.
I know a lot before a start an action. I know a lot about the necessity of the general idea of sculpture, but I dont know anything about the process in which the action will run. When the actions runs, my preparation works, because I am prepared to do a thing without knowing where it goes. You see, it would be a very uninteresting thing it would have nothing to do with art if it were not a new experiment for which I have no clear concept. If I had a clear concept of solving the problem, I would then speak about the concept and it wouldnt be necessary to make an action. Every action, every artwork for me, every physical scene, drawings on the blackboard, performance, brings a new element in the whole, an unknown area, an unknown world.
Today, Psycho still holds up extraordinarily well (another reason why a remake seems pointless). With the exception of Halloween, no latter-day horror/thriller has been capable of generating as many goosebumps. The black-and-white photography is perfect for the film's tone and mood the starkness of color would have blurred the nightmarish quality. The painstaking care with which [director Alfred] Hitchcock composed every scene is evident in the quality of the final product.
As vampire movies go, few are more memorable than Nosferatu, which is not only the first screen version of Dracula, but, in some ways, remains the best. Unlike many of his predecessors who dabbled in the vampire genre, Murnau was a craftsman, and the care he lavished upon this production is evident in each shot and every scene. Alongside The Cabinet of Dr. Caligari, few motion pictures have had a more profound impact upon an entire genre than Nosferatu has had upon the legion of horror movies that trailed in its wake.
He heard that whenever a woman was to blame for a disappointment, the best way to avoid a scene was to inculpate oneself.
It is difficult to imagine that there is either the wherewithal or the energy within the university to constitute or reconstitute the idea of an educated human being and establish a liberal education again. However, the contemplation of this scene is in itself a proper philosophic activity. The universitys evident lack of wholeness in an enterprise that clearly demands it cannot help troubling some of its members. The questions are all there. They only need to be addressed continuously and seriously for liberal learning to exist; for it does not consist so much in answers as in the permanent dialogue.
A time will come when the picture will no longer be enough. Its immobility will become an archaism with the vertiginous movement of human life. The eye of man will perceive colours as feelings within itself. Multiplied colours will not need form to be understood and paintings will be swirling musical compositions of great coloured gases, which, on the scene of a free horizon, will move and electrify the complex soul of a crowd that we cannot yet conceive of.
The institutional scene in which American man has developed has lacked that accumulation from intervening stages which has been so dominant a feature of the European landscape.