Small Cinemas

z wiersza "Małe kina" K. I. Gałczyńskiego (from poem "Tiny theatres" by K. I. Gałczyński)

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Diego Luna on saying something that matters

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“Films take so long and so much time of your life and energy that why would you do it if you’re not saying something that matters to you? I have the luxury of having a great life, I don’t need more, I don’t do this for money, I do this for the pleasure and for the big chance that you have to connect with others. So if you’re gonna go out and tell people they have to sit down and listen to something you have to say for two hours, it should matter.”

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I think film should raise questions, not give answers. I think film should challenge people to reflect, debate and get by themselves to the answer that fits them.

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My job has the peculiarity of almost not being a job. It’s an exercise of personal quest. It’s related to what I like the most, what scares me the most, what bothers me the most. 

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It’s spectacular.

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“It’s the best experience ever. You come see films. You can get inspired by other voices. And then celebrate them, you know.” Diego Luna at Berlinale 2017

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We love IMDb and these celebrities love it too. Which of these quotes from celebrities about their favorite site known as IMDb, is your favorite?

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We love IMDb and these celebrities love it too. Which of these quotes from celebrities about their favorite site known as IMDb, is your favorite?

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For the journalist, the programmer, or the buyer, every screening choice here is a compromise. No matter what film you pick at any given hour, there’s the sneaking feeling that the one to see just might be showing next door or down the street.

http://www.rogerebert.com/cannes/cannes-2016-graduation-the-neon-demon

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O ścieżkach dźwiękowych do niemych filmów. Wioletta Myszkowska dla radiowej Trójki.

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"Wes Anderson" by I Cani

Inspired by Wes Anderson's movies: "Rushmore" (1998), "The Royal Tenenbaums" (2001), "The Life Aquatic with Steve Zissou" (2004), "The Darjeeling Limited" (2007), "Fantastic Mr. Fox" (2009), "Moonrise Kingdom" (2012)

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Martin Scorsese Creates a List of 39 Essential Foreign Films for a Young Filmmaker

Eight or so years ago, young filmmaker Colin Levy got an opportunity of a lifetime. He got a one-on-one meeting with Martin Scorsese. [...] A couple weeks later, Scorsese’s assistant sent him a handful of books and 39 foreign movies personally picked by the filmmaker. “Mr. Scorsese asked that I send this your way,” his assistant wrote to Colin. “This should be a jump start to your film education!”

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"How to Write About Characters Who Are Smarter Than You" by Graham Moore

My least favorite moment in all of cinema is a relatively common one. You will recognize it, I’m sure, from dozens of movies and TV shows that prominently feature scientists. [...] “WHOA, Doc. Say that again in English!” [...] It’s a moment of casually cynical anti-intellectualism. It’s a joke predicated on the idea that only some geeky sex-less egghead would ever bother to care about what some dotty scientist says. The moment treats neither its characters nor its audience with respect.

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Morten Tyldum on gay sex scene

Ramin Setoodeh: Was there a version of the script where Turing has a male lover?

Morten Tyldum: First of all, the time period we’re all focusing on, he didn’t have one. He described it in his own words as a “sexual desert” in a letter. The whole thing is his relationship with Christopher [Turing’s male crush seen in flashbacks in grade school], about unfulfilled love.

Ramin Setoodeh: But Turing did have relationships with men.

Morten Tyldum: He had people he had sex with, yes — especially in the time after the war, when he’s living in Manchester. The break-in that happens in the film is a male lover, which is discussed. It was actually someone he paid to have sex with. It was more of a hustler.

Ramin Setoodeh: But we never see Turing in a relationship with an adult man. Don’t you think that would have enriched the character?

Morten Tyldum: Not really. The whole movie, the way it’s structured, we don’t know anything about this man. The whole investigation starts because he’s hiding something, but he’s not hiding what we think. It can’t start off with him having sex. It was not because we were afraid it would offend anybody. If I did the structure and had this thing about a straight character, I would never have a sex scene to prove that he’s heterosexual. If I have a gay character in a movie, I need to have a sex scene in it — just to prove that he’s gay? I’m not shying away from it. His whole relationship, how he falls in love and the importance of him being a gay man, was all about secrecy.

Ramin Setoodeh: Some have criticized the movie for not including that.

Morten Tyldum: During his time, the relationship that was important was the relationship with Joan Clarke [played by Keira Knightley]. They were engaged for six months. It’s all about a lost love. He didn’t have a male companion. He had some random people he had sex with. He also had, this was funny, he went to Norway to have sex in a gay sauna, a secret club. He had some sexual partners, but it was few and far between. The only reason to have a sex scene in the film would be to satisfy critics who feels that every gay character needs to have a gay sex scene.

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ducumentary short "Our Curse"

In this Oscar-nominated documentary, a young couple struggles to overcome every new parent’s worst nightmare: a child born with a life-threatening illness.

"Nasza klątwa" ("Our Curse") by Tomasz Śliwiński (father of Leo)

And an article by Tomasz Śliwiński. Oraz artykuł Tomasza Śliwińskiego.

On family's blog. Na blogu rodziny.

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Should critics see films more than once?

Ryan Gilbey: Slippery plots become clearer after a second viewing, but some movies – such as Inherent Vice – are meant to be confusing. And if critics go back for more, are they being fair to readers, who only get one shot?

Some quotes from article:

Had I experienced a different reaction, I would have needed to point that out in print, just as some critics differentiate between their own first-look reviews, penned in the white heat of a Cannes premiere, and the way the film plays many months later in the cold light of a Soho morning.

Seeing a movie twice in a professional capacity means entertaining the possibility that you were mistaken the first time; it introduces room for doubt.

It doesn’t help that the opinions of film critics are uniquely vulnerable to scorn and scrutiny, for two reasons. Cinema is the most democratic of the arts: most people across all generations have an opinion on movies, whereas only certain sections of society will have dust-ups over a Miley Cyrus album or a Braque exhibition. What’s more, the objects of our criticism are readily available for inspection, unlike theatre or ballet. 

Most critics will concur with AO Scott that it is usually only the nuances that are mutable: “I don’t think I’ve ever, at least since I started reviewing, reversed myself completely on a movie. Sometimes, though, I’ve seen movies again and felt that the emphasis of my review wasn’t quite right – either that I was too hard on minor failings or too forgiving of more significant ones.” The dishonest part would be to stick completely to a second impression without owning up to a radically different first one. 

And there has to be some tantalising quality that lures critic or consumer back in the first place. The critic Nicholas Barber put it rather nicely when reviewing Björk’s album Post 20 years ago. “It takes a dozen listens to get used to this album,” he wrote, “but only one to realise that you want to listen to it a dozen times.”

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"What's Your Favorite Line You've Said in a Film?"

Amy Adams

Reese Witherspoon

David Oyelowo

Benedict Cumberbatch

Sienna Miller

Felicity Jones

Miles Teller

Channing Tatum

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Jim Jarmusch on filmmaking

[Jim] JARMUSCH: One of our favorite Joe Strummer quotes was, "No input, no output." Meaning, we're going to hear a band, we're going to go to a museum, or we're going to go hang out with some writer that we admire. We're going to get some input, because if we don't, then we have nothing. It's a circle. It's a respiratory thing.

[Chris] WALLACE: And a director has to exhale so many different kinds of knowledge.

[Jim] JARMUSCH: When I studied with Nicholas Ray he was always telling us, "If you want to make films, watch a lot of films, but don't just watch films, go take a walk, look at the sky, read a book about meteorology, look at the design of people's shoes. Because all of them are part of filmmaking." So I thought, perfect! That's a good job for me.

from "Immortal Beloved" Chris Wallace's interview with Jim Jarmusch for Interview magazine