Cutting Room
READ >> Early Works Juliette Binoche

READ >> Early Works Juliette Binoche

“Turning down Jurassic Park was not an easy decision. You don’t have Spielberg calling you every morning and asking you to be in a big blockbuster. At the same time, taking risks is in my roots—as an artist, you want to go to the new. Of course, Jurassic Park that would have been totally new to me. But I was so touched by the story of Three Colors: Blue, because a friend of mine who had lost her husband and child, so for me it was a dedication to her.”

READ >> Remembering the man Who Brought King Kong to Life

READ >> Remembering the man Who Brought King Kong to Life

O’Brien’s revolutionary stop-motion special effects in King Kong created a living, breathing, sympathetic monster that audiences connected with on a visceral level. He brought to life a character who has persisted throughout pop culture for almost a century…

READ >> Herr Fassbinder’s Trip to Heaven

READ >> Herr Fassbinder’s Trip to Heaven

Dionysiac excess was the norm: he drank all day, snorted snowdrifts of coke like a vacuum and gorged on barbiturates by the bagful but work was all that mattered. He spent the next day behind the camera shooting his new project, editing its predecessor at night, and writing whatever was next until dawn.“I really have a drive that’s hard to explain,” he said, “I’m actually only happy when I’m doing things and that’s my drug, if you will.”

READ >> Geoff Pevere on the Sequences in Cinema That Haunt His Dreams

READ >> Geoff Pevere on the Sequences in Cinema That Haunt His Dreams

“The first public screening of the Lumiére brothers’ wondrous new moving-picture machine took place in Paris in March of 1895. This was the same year that a 39-year-old Viennese neurologist named Sigmund Freud published a co-authored book, with Joseph Breuer, called Studies on Hysteria. The two events might have seemed worlds apart at the time, but their historical coincidence now looks like providence: no medium would quite as potently suggest Freud’s emerging formulation of the unconscious and its nocturnal operations as the movies.”

READ >> Gilbert Taylor, BSC is given the spotlight

READ >> Gilbert Taylor, BSC is given the spotlight

“Our first day’s shooting left me amazed and a bit perturbed by Gil Taylor’s way of doing things. He mostly used reflected light bounced off the ceiling or walls, and never consulted a light meter. As the rushes were shown, however, he possessed such an unerring eye that his exposures were invariably perfect. We differed on only one point: Gil disliked a wide-angle lens for close-ups of Catherine, a device I needed in order to convey Carol’s mental disintegration. ‘I hate doing this to a beautiful woman,’ he used to mutter.” – Roman Polanski

Read >> You Talkin’ to Me?

Read >> You Talkin’ to Me?

That’s one of the reasons I couldn’t let it go. Ostracized seems worse than [killed]—it’s like the end of “Jungleland.” The Bruce Springsteen song. “They wind up wounded, not even dead.” That’s related to the ending of Mean Streets. They’re not dead, but they can never go back.

READ >> Vittorio Storaro: The Tragedy of Modern Technology and it’s Effect on Cinematography

READ >> Vittorio Storaro: The Tragedy of Modern Technology and it’s Effect on Cinematography

When you’re making a photograph, a painting or a film, and you use some kind of light or some kind of color, you’re sending a message. If you don’t know it, you’re doing it according to how you feel is right. But if you’re aware of it, if you studied the symbology, physiology, dramaturgy of light or color, you can use them like a musician using do, re, mi, fa, so, la, ti, do. You’re using red, orange, yellow, blue, violet. That’s the point.

READ >> All Seasons of the Witch: Magical Women in Post-Counterculture Cinema
WATCH >> Scene by scene: The Man Who Fell to Earth

WATCH >> Scene by scene: The Man Who Fell to Earth

“I don’t think that the cinematographer should have a style. A lot of them do. Not to belittle anybody, but Janusz Kaminski is a brilliant cinematographer but all his movies look the same. I’m a slave to the script and the story, which obviously means to the director…”

READ >> Scissor sisters

READ >> Scissor sisters

“If film cutting in many national cinemas is substantially a girl game, this raises the inevitable question: since film in general has been quite male-dominated, why is editing less so?”