Four films by William Friedkin.
Japanese poster for François Truffaut’s Fahrenheit 451.
The Films of Peter Weir
The Cars that Ate Paris | Picnic at Hanging Rock | The Last Wave | The Plumber | Gallipoli | The Year of Living Dangerously | Witness | The Mosquito Coast | Dead Poets Society | Green Card | Fearless | The Truman Show | Master and Commander: The Far Side of the World | The Way Back
Two posters for Robert Bresson’s Pickpocket.
“In your life, in one’s work, one must try to be truthful to the task at hand, to realise and respond to what the work itself demands. Sometimes this calls for established rules to be broken, but that’s life isn’t it? Rule-breaking applies to many things, not just filmmaking. I certainly don’t think there’s a right or a wrong way to make a film, I’ve often discovered a right way and another right way – nothing is definitive. Admittedly, many people prefer the safety of the known road, but I found situations regularly required me to take a different path and I was happy and ready to do so.” — Nicolas Roeg
Polish poster for Wim Wender’s Paris, Texas.
Designed by Wieslaw Walkuski.
“One thing is certain, time and space play no role at all in the construction of a film, the cinema is unaware of them; a scene can carry you into another world, another age. One simply tries to capture, in flight, moments of truth, as much by thought as intuition, instinct, or… too rarely… by flashes of inspiration. And those moments of truth can be either comic or tragic if one is dealing with kings great enough to fall. That is how a film is made, the rest is simply a question of looking at life and people.” — Nicholas Ray
If you had to stand or fall on just one of your films, which one would it be?
John Huston: I can’t name just one. I realize that the honors falling on me now are for the cumulative weight of my work. But I especially like The Maltese Falcon, The Treasure of the Sierra Madre, The Man Who Would Be King, Reflections in a Golden Eye, Fat City, Heaven Knows, Mr. Allison. And I like moments in all my work, whatever the reason I made the picture, including some that I don’t like on the whole. I always shot each scene as if it was the most important scene in the picture and shot every picture as though it was the most important one I ever made.
The films of The Thin Man
The Thin Man | After the Thin Man | Another Thin Man | Shadow of the Thin Man | The Thin Man Goes Home | Song of the Thin Man
Czech poster for David Lynch’s Wild at Heart.
Designed by Jan Weber.