Spirits, evil ones especially, do tend to linger, and James’s nasty apparitions have been hardier than most. “The Turn of the Screw” transformed these shadows of shadows into fully imagined presences on the page, the stage play gave them flesh, and the movie takes them home to the permanent in-between that is the natural state of ghosts, of images on film, and of Henry James’s sense of story.
“I only remember selected things and I don’t know how many of these selected things represent my own personal re-creation of history or what actually was.”
“There’s always a first time and I’m always making experiments, I’m always trying, then trying again and trying to express things.”
“If [two characters] are in the same shot, I can say that they are united (by being in the same shot) or separated (by the space between them). If they are in different shots, I can say that the cut separates them (a cut is a break) or links them (a cut is a join).”
“Give us television and a car… and deliver us from liberty.”
The blood, sweat, and tears that go into creating a film are not often publicized around its release, but for some features we eventually get a peek behind the curtain — or rather, the camera.
“Well, I can tell you some stories.” – Charlie
“Twilight was the first time where we used cinematic lighting, which was the huge shift in the work. When it became possible for me to use lights in a much more choreographed way, where we could put a light half way down a block. It’s using light to not only establish a world, but also to tell a story. To tell the story through light and color.”
Lynn Hirschberg, sat down with thirty-one Hollywood actors for a series of off-the-cuff video interviews. This year, Hirschberg asked the selected coterie to talk about their favorite cinema sex scenes.
“I’ve agreed with everything you said, except I don’t think of it. You intellectualize it. I don’t.” – Conrad Hall