The emotional process doesn't interest you. You're interested in cognitive processes.
My fiancée.
The emotional process doesn't interest you. You're interested in cognitive processes.
My fiancée.
The end of End of Evangelion, Hideaki Anno & Kazuya Tsurumaki. 1997
Here with you. It's not like in a movie or a book, where everything is precise, thought-out, organised... with a clear-cut goal. Everything's chaos... Chance... Pain... Disorder...
L'amour braque, Andzrej Zulawski. 1985
I put my hand on a stove, to see if I still bleed, yeah / And nothing hurts anymore, I feel kinda free
Ghost Town, Kanye West. 2018
Fiction is not exclusively defined by a narrative thread that is cohesive and well-motivated. This is a type of fiction. Fiction is made-up people navigating through a made-up situation. Motivation and cohesion are not inherent to the form. These made-up situations might be dictated by real life, but their made-up-ness (imaginative freedom) is what makes them fiction. I wonder what would happen if what’s made-up does not have to follow a preset logic (dogmatic), but can move freely around the proposed theme or concept, following desire.
Apply a scene-by-scene approach to a film dictated not by narrative but by situation, character, landscape. Not action-consequence, but motion/movement-exploration. In search of an architecture more concerned with possibility rather than effect.
Je Tu Il Elle, Chantal Akerman. 1974
Celine and Julie Go Boating, Jacques Rivette. 1974
It's not a terrible failure and it's not some unassailable triumph it's... a thing I did.
In a Wall Street Journal article, Soderbergh mentions that he edits all his latest films on a Macbook. Then I found a picture on his Twitter from the post-production of High-Flying Bird, which was filmed on an iPhone. The fact he finished a first cut a few hours after wrapping while on a train instils me with hope.
For [Hong Sang-soo], making a film is not the same as unrolling a narrative thread, but rather organizing “surfaces” or putting “fragments” to use within a given structure. (...) The first question the director asks himself is never “what do I want to say?” but always “what is going to happen?” And the answer is never given in advance, since it will be decided in accordance with a given place.