#cinema scope

[spacevixenmusic]

Source: Teenage Mutant Ninja Turtles [2004]

[shihlun]

If one is able to offer a clear explanation about the relationship between the two parts, then that can be a pleasant thing. But that encloses everything… You know what I mean? This way we can proceed with some pleasure of making sense, but still feel that the two parts are quite independent. Not one moralistic message. Let me make a drawing…

Just look at these two circles in the drawing as two independent worlds. If you believe there’s a clear reason for these two worlds to exist, once you find a clear meaning between them, then these worlds themselves disappear. Once we make clear sense out of these two worlds, they are just used up. It happens that it’s not easy to give them a clear meaning. So all the questions are kept alive if there’s an infinite possibility of worlds. It’s like a permanent reverberation.

Hong Sang-soo on the parallel world in his film “Right Now, Wrong Then“ (2015).

[kinodrome]

Paul Thomas Anderson

(source: Show Biz Kids:  Paul Thomas Anderson on Licorice Pizza interview by Adam Nayman for Cinema Scope Magazine)

[kenotype]

Cinema Scope 82

[davidhudson]

Happy 57th, Hong Sang-soo.

[morganstuart]

There are some descriptions well worth reading of Jiang Wen as director/writer/actor of Let the Bullets Fly here in this Cinema Scope review by Shelly Kraicer. For example (emphases mine): 

“And as bandit leader Zhang Muzhi, Jiang Wen (once even sporting a very Hamlet-like vest and ruffled shirt) combines a dominating, tangible physical presence with verbal power: think a super-macho version of Kenneth Branagh, if not Olivier....  “He’s also very clearly Jiang Wen playing someone much like Jiang Wen, the dominant force and omnipresent onscreen auteur of the film. Jiang is immediately present, maintaining control with his macho dominance of shot and setting and tone, and exploiting all his gifts: physical charisma, theatrical verbal command, and a powerful moral charisma emanating from the Jiang Wen persona well known to (and revered by) Chinese audiences.”

[shihlun]

Imagine this rectangle is real life. I try to come as close as possible to it. How? Using details of my life, things I’ve lived, things I heard from other people I know or I just met. I always mix different sources, and it’s never about myself, but it looks like something that happened, or looks like its about me. I want it to be like that. I realized that when I was 23 and was writing a script based on a real story. I felt too tense; I couldn’t move. I needed distance. In the same way, my films are never a parallel line to reality. What I tend to do is to follow an arrow towards reality, avoiding it at the very last second.

Hong Sang-soo on the relationship between fiction and reality in his films.

[bubbihaus]