"I once had a dream, or a vision, and I imagined that dream to be of importance to other people, so I wrote the manuscript and made the film. But it is not until the moment when my dream meets with your emotions and your minds that my shadows come to life. It is your recognition that brings them to life. It is your indifference that kills them. I hope that you will understand; that you when you leave the cinema will take with you an experience or a sudden thought—or maybe a question. The efforts of my friends and myself have then not been in vain…" — Ingmar Bergman


"Sufficient time is rarely taken to study light. It is as important as the lines the actors speak, or the direction given to them. It is an integral part of the story and that is why such close coordination is needed between director and cinematographer. Light is a treasure chest: once properly understood, it can bring another dimension to the medium… As I worked with Ingmar, I learned how to express in light the words in the script, and make it reflect the nuances of the drama. Light became a passion which has dominated my life."
Sven NykvistDecember 3, 1922 — September 20, 2006

"Sufficient time is rarely taken to study light. It is as important as the lines the actors speak, or the direction given to them. It is an integral part of the story and that is why such close coordination is needed between director and cinematographer. Light is a treasure chest: once properly understood, it can bring another dimension to the medium… As I worked with Ingmar, I learned how to express in light the words in the script, and make it reflect the nuances of the drama. Light became a passion which has dominated my life."

Sven Nykvist
December 3, 1922 — September 20, 2006

"Like the great Hollywood stars, Tanaka rarely appears to be acting. But instead of presenting a fixed screen persona, she makes each of the disparate characters she embodies appear to be her natural self… she changes from film to film, and within films, ranging over the manifold possibilities that humans can choose or be chosen by. As a director she extends that range to the film as a whole, embracing eeriness and earthiness, ugliness and beauty, irony and passion. She is a variable star, now radiant, now somber, now (as she directs) invisible…"

"Tanaka can be called either the first or the second woman ever to direct movies in Japan… When Tanaka revealed her interest in directing, Mizoguchi—having worked with her on so many films sympathetic to women—opposed the move. Was he a sexist in feminist disguise? Apparently he felt that Tanaka, as the best screen actress in Japan, should not risk being less than the best as a director. In any case, other filmmakers were more helpful. Naruse took her on as an assistant director, Kinoshita wrote the script of her first film, Love Letters, and Ozu co-authored her second, The Moon Has Risen.”Film Comment

Kinuyo Tanaka
November 29, 1909 — March 21, 1977

heidisaman:

Dear Readers,
I’m getting personal on this post because I want to let you in on some news. In 2014, I’m directing my feature film and it’s called Namour.
It’s set in Los Angeles.  It’s about Steven Bassem, a young valet driver who can’t seem to get his act together. As his close-knit Arab American family starts to fall apart, Steven begins to act out the drama of his permanent adolescence in ways that surprise even him.
Namour is about the decisions we make when our responsibilities begin to weigh down our convictions — and why life can feel like it’s passing us by.

I’ve been looking for financing producers for quite a while now and it’s been a difficult process, most of which has to deal with investors wanting to change the tone and genre of the film to turn it into a more ‘palatable’ Arab representation. They’d like the film to be framed as an immigrant family piece (as well as a couple of other familiar genres — you can read about that here) instead of the subtle, mood piece that I’ve written it to be. 
Their comments convinced me that the only way to make my film the way I wanted to make it would be through truly independent means,  which is whyI’ve launched a Kickstarter campaign to raise a portion of the funds myself — and I need your help. 
Help me prove those producers wrong. Let’s send the message that there is an audience for well-told, unique stories that feature people of color in dynamic and non-stereotypical roles. I will only receive the funds from this campaign if I reach my Kickstarter goal. So any amount you can give will get me that much closer to my goal.
I created my tumblr to talk about the films that I love and the writers, directors and cinematographers who create them.  Thanks to this blog I’ve discovered the wonderful camaraderie that exists around these films. It’s been a perfect surprise. 
Thank you for following along and for reading.
Heidi

heidisaman:

Dear Readers,

I’m getting personal on this post because I want to let you in on some news. In 2014, I’m directing my feature film and it’s called Namour.

It’s set in Los Angeles.  It’s about Steven Bassem, a young valet driver who can’t seem to get his act together. As his close-knit Arab American family starts to fall apart, Steven begins to act out the drama of his permanent adolescence in ways that surprise even him.

Namour is about the decisions we make when our responsibilities begin to weigh down our convictions — and why life can feel like it’s passing us by.

I’ve been looking for financing producers for quite a while now and it’s been a difficult process, most of which has to deal with investors wanting to change the tone and genre of the film to turn it into a more ‘palatable’ Arab representation. They’d like the film to be framed as an immigrant family piece (as well as a couple of other familiar genres — you can read about that here) instead of the subtle, mood piece that I’ve written it to be. 

Their comments convinced me that the only way to make my film the way I wanted to make it would be through truly independent means,  which is whyI’ve launched a Kickstarter campaign to raise a portion of the funds myself — and I need your help. 

Help me prove those producers wrong. Let’s send the message that there is an audience for well-told, unique stories that feature people of color in dynamic and non-stereotypical roles. I will only receive the funds from this campaign if I reach my Kickstarter goal. So any amount you can give will get me that much closer to my goal.

I created my tumblr to talk about the films that I love and the writers, directors and cinematographers who create them.  Thanks to this blog I’ve discovered the wonderful camaraderie that exists around these films. It’s been a perfect surprise. 

Thank you for following along and for reading.

Heidi

11 / 28 / 2013 190   originally from mizoguchi   via heidisaman

Genius poster designer Waldemar Świerzy has passed away.

Nobody’s Daughter Haewon — dir. Hong Sang-soo

When filmmakers meet…

Tokyo Story — dir. Yasujiro Ozu

Naomi Kawase: My desire to make a film always starts with a personal event that leaves its mark on me and that I want to translate into images. I create fictions from very personal things… I didn’t come into filmmaking from, as you say, watching other films and then wanting to be a director. Fundamentally, it was my love of the medium of film as a tool to capture the moment, the moment that’s happening right now. When film was first invented, there was that excitement about its ability to capture a moment in time, the here and the now. And that’s really the starting point for my interest in the film medium.

Claire Denis: In filmmaking, day by day you’re fighting against all elements, like sailing a boat, you know? If it’s bad weather, you have to react to that. If there’s no wind, you cannot move. So the audience is not always there, in my mind. The audience is like a friend, someone I know I’m going to meet later, but in between that moment of meeting and the moment of making the film—it’s so huge, the gap in between. I cannot even imagine the film finished when we’re shooting. So how can I imagine facing the audience, saying, this is my film, audience that I respect so much! No. I would be lying if I said that. I always hope that if I do things the way I like, I will end up having respected the audience.

Larisa Shepitko: Dovzhenko tried to teach us to see the world. Most of all he warned us against acquiring only the technical skills of the craft. He did not like “followers” who just tried to ape his approach. He urged us to be faithful to ourselves, to trust our own feelings and to stand up for our views. I did not realize at the time how difficult this is. You come to understand such things as you grow older… He used to tell us that when starting on a new film we should know what new things it would tell the audiences, and whether it would foster their better human qualities. I think this is the goal of art.

Safi Faye: I don’t know how a film is born. It’s an idea that comes; I then begin to work on it—while cooking, while getting dressed, while bathing, everywhere I went… I have always felt that a film belongs to the public… One need not explain her conceptualization, her process. The film—either one likes it or not. The story—you like it or you don’t… My sense of creativity, though, is to let the audience imagine what the images signify. It is not necessary to make everything explicit for the audience. They have to think. Creativity invites such thinking; that is why I create.

Maya Deren: Instead of envying the script and dialogue writers, the trained actors, the elaborate staffs and sets, the enormous production budgets of the profession film, the amateur should make use of the one great advantage which all professionals envy him, namely, freedom—both artistic and physical… The most important part of your equipment is yourself: your mobile body, your imaginative mind, and your freedom to use both. Make sure you do use them.

Visual echoes in Kenji Mizoguchi’s Ugetsu.