Happy Together // dir. Wong Kar-wai
Leslie Cheung: “When we tried to shoot the love scene it really shocked Tony. He refused to do it. For two days he was miserable, lying on his bed. So I went up to him and said, ‘Look at me, Tony, I’ve gone through so many scenes kissing, touching girls, grabbing breasts, do you think I really enjoyed it? Just treat it as a job, a normal love scene. I’m not going to fall in love with you, and I don’t want you to really have sex with me. You’re not my type.’ So he agreed to do the scene.”
Tony Leung: “[Wong Kar-wai] gave me a fake script. Originally my character wasn’t gay - his father was. In my script, the father dies in Argentina and I go there and find out he had a lover, who is Leslie. So we go to Argentina and we spend six weeks learning Spanish and the tango. And after that, Kar-wai says, ‘I think it would be much more interesting if your role is gay.’ I was surprised, but not angry. We start shooting the next day - and the first scene is a love scene.”
The Seventh Seal // dir. Ingmar Bergman
“The very first film, I had to fight to finish. It was baptism by fire. I learned all the lessons I needed to learn on the first film, about protecting myself and how to keep a lock on the editing-room door.”
Paul Thomas Anderson (born June 26, 1970)
Lost Highway // dir. David Lynch
Must be from a real estate agent.
Das kleine Chaos // dir. Rainer Werner Fassbinder
Saul Bass: The Origins of the Vertiginous Forms in Vertigo
I was browsing through the remainder bin in a Third Avenue bookshop. I leafed through a book and was stunned by some beautiful images. They were by Lissajous, a French mathematician of the late 1800s.
From a Swiss scientist’s later description of these images and how they were made, I was able to reconstruct a device used by Lissajous to create them. It consisted of a recording pendulum with an attached and smaller free-swinging eccentric pendulum which introduced variables into the motion of the recording pendulum. The recording device was a tiny brush with an ink reservoir and a stop cock regulator. Very tricky to operate. But when it worked the images were extraordinary. Watching them grow as the pendulum swung, not knowing what their final form would be, was a magical experience. I made a batch. Sat on them for years. And then Hitchcock asked me to work on “Vertigo.” Click!
I did not invent them, they had already existed, but were not fully recognized for their aesthetic potential since they were mainly seen as scientific expressions. You could say I was obsessed with them for a while — that I had fallen in love with them — so I knew what Hitch was driving at. [x]
“You know what I did this morning? I played the voice of a toy. I play a planet. I menace somebody called Something-or-other. Then I’m destroyed. My plan to destroy Whoever-it-is is thwarted and I tear myself apart on the screen.” [x]
Welles was 70 at the time and in poor health. His last released film was 1987’s “Someone to Love,” but that was shot before Welles lent his voice to “Transformers.” Late in his career, Welles often took to commercials and narration work as a source of income.
Author Barbara Leaming spent many days with Welles in his last three years for her book, “Orson Welles: A Biography.” She recalls Welles telling her shortly before he died that he had spent the day “playing a toy.”
“That was for him a way of earning a living and a way of trying to finance the films that he wanted to make,” says Leaming. “Obviously in those years, there’s a tremendous sadness except that the thing he used to always say to me was, ‘The one thing that’s helped me to survive is that I’m not bitter.”’ [x]